High Desert Spring acrylic painting by Beverly Theriault |
Archived Comments
Enjoy the past comments below for How’s your myelin?…
“Looking for little moves that count? Make small paintings, make lots of ’em, make ’em often, and you’ll be in the winning circle when you come to make the big ones. ” – Thanks for that. I needed just that at the moment. I’m struggling with a painting, and kind of losing heart.
Doing lots of small paintings will make you good at doing small paintings. But you need to practice doing the big ones too — they are qualitatively different from the small ones. Your hand and brain need to learn those big strokes and how to compose on a larger scale if you want to paint big. A large drawing pad or painting your wall with chalkboard paint give you room to practice big. It’s not just a matter of scaling up.
Robert, you’re dead on about young Chinese artists. They have enormous discipline and are well schooled. They work in a high volume reproductions market. They learn to work fast and their skills are honed. Some of these artists are escaping to the fine arts world, no longer being held back by their commercial concerns. These young artists are formidable. They havn’t been trained to believe that skill level doesn’t matter, that all “self expression” is created equal, and any effort is good. The not only know better than that, they are better than that. While there are still fine painters in the West, the Chinese are breaking out with unbelievable skill, eyes that see and hands that translate that seeing, and great panache. What’s more, we need to look at this art as it stands, and not bias ourselves against it due to some idea of economic or political system, are incipient racism. Ignoring or discounting this wellspring of artistic culture would be to our own loss.
Myelin is fine, how’s yours? I really am a sick and twisted individual.
You mean your elin is okay but my elin is not? Sort of like that’s my analysis and that’s your analysis.
A useful exercise that I do when I am at the end of a path and need to examine a new direction. is I make up 10or 20 two inch squares of Masonite, primed. I then do tiny paintings on them, the small scale not only forces you to look at the painting differently but it also means that the time into each is minimal and I can just concentrate on the one aspect I am interested in with out the distractions that go with a larger piece and thus larger commitment. Like a sketch but the result is more or less a finished painting. This is a great way to explore different colors and compositions.
I seem to be hearing a song in some quarters that sounds suspiciously like “in hard times talent will out and cream rises to the top”. I think this is elitist hogwash. I am reminded of so many times in history where circumstances beat the hell out of talent. Just going back to the times of McCarthy we can see the totality of talent that never reached fruition [oh the works of art we lost!!]because of a stupid witch hunt of a self aggrandizing prejudiced man. And in this recession we are losing artists every day. We lose those who simply cannot start at all. We lose those who are working towards some sort of mastery but cannot continue with study that isn’t even ready to pay off yet….although in better economic times even learning artists can do well. Remember that it take some years and some dedication to paint well. And we lose professionals, those artists who have given years and years in the service of their craft because circumstances are such that they cannot sell at this time. Depressed markets, especially extended ones, take a terrible toll on art. And because of this, we lose art. This is not a scenario of cream rising to the top at all. It is a devastation plain and simple. I deplore the loss of art in these times. And I deplore the loss of ability to paint at all when one is driven to paint. For every Nolde that painted small and hid his treasures in the woodpile in tough times I wonder how many were just robbed of the ability to even do that. Bad times hurt art and science and every thing else. I do think it is better to mourn and recognize the loss than it is to deny it. To deny it may mean a person is doing well [good for them]and it may also mean that there is not room in their heart to recognize that difficult times are just difficult…..and although some artists will survive and do well….they may or may not be the cream of the talent. They are only the survivors. We will never know the talent of the ones we lose now. And that is worth mourning and speaking truth about. I believe totally in optimism in these times. It keeps you afloat if you happen to be or know one of the ones struggling to keep on keeping on. But I also want to acknowledge, and indeed take a moment, to understand that these times mean lost art and lost artists. And that is worth noting.
As a teacher I was thrilled to learn about the extent of myelin’s significance in the phenomenon I have observed for years: that those who really work at learning make strides that cannot be accounted for in terms of their starting point. Thanks for this! Ideas about “talent” and IQ and “native abilities” must be completely reexamined in light of new research findings. My mom’s “Your brain’s a muscle. You need to exercise it” and “Practice makes perfect” weren’t half bad, were they? Now if we can just get funding for education so that (as in years past) every child could learn a musical instrument, practice an art, and learn a foreign language in elementary school and middle school, maybe calculus wouldn’t be so hard in high school!
There is a film that shows the importance of myelin and how it can be improved by diet/distilled oil. Lorenzo’s Oil is a 1992 drama directed by George Miller. It is based on the true story of Augusto and Michaela Odone, parents in a relentless search for a cure for their son Lorenzo’s adrenoleukodystrophy (ALD). The film was nominated for two Academy Awards.
I suffered from a rare form of Guillain Barre Syndrome a rare medical phenomenon in which the myelin is slowly shed from the bodies nervous system. I was on life support for 4 months. I took years to return to my normal abilities (whatever normal is?). I found my way back through my art. The initial test was to hold a paint brush, to push my fingers & hands into picking up fine Japanese Paper for collage work. My beginnings toward recovery were to work with miniatures in order to restore my energy each day. To-day it would be unbearable to think I have any less ability to produce my artwork then someone with a high percentage of myelin on their nervous system. Some parts of my body do not work as well but my artwork is & has been my answer to wellness & ability to produce art to a degree of satisfaction has been my award. The old saying “Once one looses something they have taken for granted all their lives, this becomes a challenge in making us into stronger & more determined human being.” I don’t miss the myelin I do not have & as far as I’m concerned the whole episode has given me a stronger desire to succeed in what I know & love best. I do not take the arrival of spring for granted or the many other happenings that seem to occur so naturally to others in their view of life’s offerings.
“And with the incredible bog of dilettantism through which the West currently slogs, we will soon be studying Chinese myelin.” Thank you, Robert. And we better do it soon. We are adrift.
Robert, Very interesting study, and insightful as always. I do believe that painters should hone their craft every day. It is true, that in today’s world there are sometimes only an hour or two that may be devoted to painting, hence small studies are an excellent practice- they have ‘kept me honest’ over the years. I do fear that the daily painting movement, in its great popularity may be at the expense of well thought out and crafted meaningful work. I believe all methods- sketching, small studies, color notes, plein air and alla prima painting, and the large sustained, in depth living with for weeks work – make for excellence in painting.
Robert Genn will be signing books on Saturday April 24th between 1 and 3 pm at Canada House, 201 Bear St, Banff, Alberta, Canada. He’s shy, but he’d love to say hello.
Love your painting! The color just vibrate!