Monthly Archives: August, 2018

Letters robert-lenkiewicz_the-painter-with-karen
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Robert Lenkiewicz is one of my favourite painters. He died in 2002, age 60, of complications arising from heart problems. I was reminded again of Robert by a letter from his friend Henryk Ptasiewicz. I commend this letter to you. Henryk’s letter is in the responses to the past letter, Just for today.

Born in north London, the son of refugees who ran a Jewish hotel, Lenkiewicz went to St Martin’s College of Art and Design at the age of 16 and later the Royal Academy. However, he was largely self-taught.

Letters hans-jean-arp_constellation
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After a couple of decades wielding a brush, I’m wondering if you’ve also experienced this: I paint all day and while resting I think about paintings. Then I go to sleep and dream about paintings I’ve not yet painted.

A few mornings ago, I rose from bed and, like a premium droid, set to work without question on the thing I had dreamt. After reasonable success, I wondered if this process might simplify the whole operation and alleviate mental exertion.

Letters Paul_Gauguin_the-midday-nap
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Seasoned painters may think I’m reinventing the wheel here, but this idea is one that many — even many abstractionists — need to know about: The normal and obvious process is to mix a colour to match the local colour of the subject matter and then apply it in its proper place in the painting. For a change, try this: Mix a colour — any colour — then look around and try to find a place to put it. For many artists this is awkward, reverse thinking. I’m here to tell you — it’s dynamite.

Letters Lucio-Fontana_Spacial-concept
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In 2015, London artist Patrick Tresset presented an installation in Brussels called, 5 Robots Named Paul. The performance involved five school desk set-ups, each affixed with a clamp lamp, video camera, sheet of paper, and a robotic arm holding a ballpoint pen. A sitter could then have her portrait drawn by what appeared to be a robot, anthropomorphized by wobbly penmanship and webcam eyes studying her face. In reality, the video and the robotic arm were never connected — the drawings were made by a computer from a single photo taken at the beginning of the session.