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.
Search Results: b (1966)
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
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.
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.
When Swiss philosopher Jean Piaget was marking intelligence tests at a school for boys in Paris, he noticed that younger children consistently gave wrong answers to all the same questions. Piaget concluded that children of a certain age were simply not yet ready for these particular questions, having not yet developed cognitive abilities in these areas. It was 1921 and Piaget returned to Switzerland to propose a global theory of cognitive developmental stages — laying out age periods and their patterns — basically showing how knowledge is built.
James Harvey, not yet one year old, moved with his family from Toronto to Detroit in 1930. After studying painting at the Art Institute of Chicago in the 1950s and designing window displays in Detroit, James moved to New York to try and break into the art world. He took a job for $55 a week in the studio of industrial and packaging designer Egmont Arens and started showing his abstract expressionist oil paintings around town. For two years, he worked with a team to redesign the Philip Morris cigarette package — an also-ran to the post-war streamlining going on over at Lucky Strike.
At the top edge of Joshua Tree National Park and skirting the edge of the Mojave Desert is a place called Wonder Valley. In 1938, the U.S. Congress put forward the Small Tract Act, encouraging homesteaders — mostly World War I servicemen — to lease five-acre federal land parcels to convert to private ownership if they built structures, businesses or recreational facilities there. By the ’50s, thousands of cabins had been built but, after infrastructure like roads, water, power and schools failed to appear, were later abandoned.
For those who might wonder why music plays such a great role in human life and culture, Daniel J. Levitin has written This is Your Brain on Music. The book contains remarkable insights and new information on music, song and dance. Some researchers think music may actually predate speech. Others see it as a wayward deviation that only ends in harmless play. Curiously open-ended and open-minded, there’s something on every page of Levitin’s book that has me asking similar questions about the brain and painting.
Having recently set up a new studio in a new locale, my friends are calling with the same question: “Are you feeling creative in your new space?” Pregnant with myth and mystery, a new room can ignite all the original dreams and fears of even the most seasoned studio-hopper. Without sounding too superstitious, the question can feel a bit blasphemous. While we all may swim in the mystery of creativity’s delicate alignment, and tremble at the juju of a new space, it’s the occupant that determines a studio’s potency. Studio vibes — ineffable, designed, cultivated or summoned — are, in the end, artist vibes. They’re germinated by sweat.
A subscriber wrote, “I was wondering just who buys all the art. I came up with a few possible demographics. Then it occurred to me that I should ask my favourite guru — you.”
Thanks for the elevation… These days there are five main types of art buyer. Some are a combination of more than one type. While it’s not something that you must make a study of, it’s often useful to recognize these birds when you see them in the field.