At the top of the staircase at the National Gallery in Budapest hangs what many agree to be the last Hungarian historical painting. Commissioned for Budapest’s bicentennial and finished in 1896, it depicts the moment two hundred years earlier when the troops of the Holy League, led by Commander Prince Charles of Lorraine, took the city back after 150 years under Turkish rule. At over 23 feet long and 11 feet high, the painting puts me at eye level with the iridescent pink flag and golden boots of an unknown colour guard, who has been crushed beneath the slain body of the Turkish pasha Ali Abdurrahman. They lay strewn across the painting’s almost dead-centre foreground.
Monthly Archives: September, 2018
Early in my career I came to know an artist by the name of Lawren Harris. On one of our walks together he told me that he thought paintings came out of themselves. He explained that the painting you are doing right now is the springboard for the next and the next after that. When paintings follow one another, in series or in similar format, they “learn” from one another. A useful technique is to vary the approaches to the development of the series. The whole idea, as I’ve come to understand and apply it, is to better extract the spirit of subjects. Here are a few methods:
Growing up hunting and trapping in rural Texas, Wyman Meinzer believes he’s covered every foot of the Badlands. “In August in this region, Texas is a virtual hellhole,” he says. “And I’ve seen some cold weather… as cold as it gets in this country and my dad telling us to go saddle up our horses and the winds out of the north are 30 miles an hour and it’s 15 degrees and I was thinking, ‘My God. Not today, please.’”
Here’s a simple system that builds creativity immediately. (Writing that line made me feel like a snake-oil salesman. But I digress.) I’m talking about pushing yourself to doing just one more thing every day. Results are guaranteed if you do it for a week. (Sorry, there I go again.)
With personal biorhythms, obligations, as well as climate, season, and other factors, we all have our times of maximum creativity and efficiency. In my case I seem to be at my best in the early morning
When Georgia O’Keeffe’s husband, Alfred Stieglitz, died in 1946, she packed up her home in New York for the last time and moved permanently to Ghost Ranch. She was 59 years old. Having first visited Taos in 1929 with her friend and fellow artist Rebecca Strand, Georgia had already fallen in love with the Southwest and poured herself into painting it. “Well! Well! Well!” she said on first glance. “This is wonderful. No one told me it was like this!” From that year on, she had made Abiquiú her second home, even customizing her Ford Model-A with an easel so she could drive out into the desert alone and paint in the back seat.
A few years ago a thief looked in a gallery window and saw what he thought was a painting by a relatively expensive, dead artist. Using an accomplice to distract the dealer, he grabbed it and fled. It turned out to be one of mine. I know the disappointment he must have felt because the painting soon appeared in a nearby dumpster. This is an example of someone trying to steal something that might have been successfully fenced in an auction or another gallery. I fooled ’em.