The desire to have everything correct

I understand the desire to have everything correct but I am reminded of a quote from Picasso. He was once confronted by a spectator who complained that the proportions were off on a female figure in his composition. 

She said, “Mr. Picasso, that woman’s arm is too long.” 
He replied, “That is not a woman madam; It is a painting.”

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Response to comments on a Norman Rockwell painting where one is that a guys arm is too long and another said one figure has a cell phone in his pocket.
Oh lordy ! 
Item #1.)
From his dress, anyone back in the day would have recognized the guy on the left as a delivery man of some sort. Back in the day they would have kept track of their business in a pocket notebook like that. No one walked around with their wallet hanging out. 
Item #2.)
I'm checking profiles of those who respond to see who is likely to have some idea of what is what in a painting and I'm coming up short here. Block me. Delete me. Report me. I'm just tired of trying to have serious conversations that get clouded by "everybody's knowledge is equal to everyone else's knowledge." I know, I know. You've all got your own opinion. But you don't walk into a friends house and start complaining about the furniture. You either enjoy yourself or stay away. 
Item #3.) 
We should all learn to come to a work of art with an open mind. Try to find what IS there instead of what you don't like. It's good practice for being around other people too.

I know this will be drowned out by all the people running around in a form of hysteria but:
These "multiple friend requests" everyone gets are all fake. Just ignore them. I believe them to be an effort to destroy the credibility of the social network by seeding it with fake everything. Just stick with your friends and choose them wisely. Stop listening to the bots that try to get into every open seam of your life or soon you won't even trust your own mother.

You ask me why I paint?

Around 1980 my journal entry reads, 
“You ask me why I paint? 
Because that white canvas 
is the only void in my life 
I can fill.” 
It holds true today just as then.

When you stumble upon great poetry

A recent conversation about the work of a third person, another painter.

Am I so mistaken?

"The Other Guy" - Having now seen several such works by this artist all I see is incredible craftsmanship but absolutely no empathy. This painting lacks joy, celebration, or love. I am saddened that this is what the best and brightest have to offer back to the world for all that has been given to them. I must ask, who would buy this and hang in their living room?

Me - Ok, I'm growing weary of this kind of talk. I've seen it growing everywhere and it is mistaken. An artist has NO obligation to make you feel all warm and fuzzy. It is not his job to make you happy.

"The Other Guy" - Mistaken? From your point of view perhaps. Perhaps it is intolerance for opposing views that is mistaken. Would you rather that everyone just shut up when they don't agree with you?

Me - It is YOU sir who has a view opposing all that the arts puts before you. And I am not trying to shut ANYONE up. I am trying to teach you not to insist on pretty where there is none. Not to demand easy entertainment when you stumble upon great poetry.

“To assume art is only pretty is foolish. Some art is ugly. Art should make us feel something, even if that something is lack. I would put forth that a great artist could create a piece that could create a emotional void in its viewer.”
— Josh Duckett
“The diplomacy of artist to artist is an important topic. Millard Sheets taught me how to deal with other artists graciously. I always praise my fellow artists no matter what my private opinion (only my wife knows!). Many have ego issues and insecurities. Some try to advance themselves by putting down on others. Those i try to avoid and take great care with if I can’t. The opinion of what the purpose of the artist is I think is important but there are as many answers as there are artists. to be arrogant in saying anyones view is the only correct one is not valid.”
— John Hewitt

Castles in the Sand

Someone asked about the value of comments on the visual arts from people who have no or little training. Here is my reply:
"From the very beginning untrained peoples have had their say and their experience of the visual arts. By a small flame they looked upon images on the walls of a cave and if they did not speak, at least they thought about what they saw and imagined from it. Today is no different and we are the same as those ancients. We look at a work of visual art and imagine ourselves the hero of the hunt or cringe at memory of the last failed hunt. In other words, we place ourselves in the context of what we see and experience it as if the running waters of our own life. Untrained people will always have their say and their thoughts. Most do not have the specialized vocabulary to bear witness to what they feel and are left with, "Awesome" or, "Amazing". But I am convinced that their experience is genuine and true according to their lives. The arguments, discussions and stories follow about what happened in the hunt or in the studio or over the sofa and they continue what should or could have happened. These are nevertheless our audience. Some of our works will elevate this audience to a higher pitch or leave them grumbling disappointed --but works of visual art -like the tides -will always touch the shores and leave more, or take sand away."


a great and growing year

It has been my pleasure to contribute to the Invitational Marinscapes Landscape Exhibition for the second year in a row in this spring.

I’ve also been honored this fall to participate in the Baywood Artists, ONETAM landscape exhibition this fall.

I considered it a great honor to receive the commission to paint the posthumous portrait of my good friend Curt Hanson and wonderful landscape painter out of Connecticut and a long time friend of mine.

In January I spent time at Marine Corps Base Camp Pendleton sketching and taking photographs of United States Marines in training on amphibious assault vehicles.

I attended the Combat Art Symposium at the National Museum of the Marine Corps to give a presentation of my paintings in their permanent collection.

I am about to set off for a grand adventure of three weeks painting in the desert of Southern California for another enlarged project. More about that later.

And there’s talk of an exhibition coming up in January or February but no details yet, I don’t want to disturb the negotiations.

I’ve had sales, commission, exhibitions and just a grand old time working in my studio. Life is good.

Who am I to judge?

Charles — Still focus in the figures. 
Energy in the brushwork.
A rushing background
- history on the fly!

If I was going to be nit-picky, I'd say the composition is a little boxy. But what do we have but a rectangle to work with? Beyond that, the slant of mark making in the background pushing forward on the figures braced against it and shielded by that wall with the heart on it . . . that says it all, doesn't it?

I've never thought "This is right and this is wrong" is a good approach -- although probably I have crossed this line many times in my life. Instead, I describe what I see and try to find what that makes me think or feel. It's to the painter himself to decide, "Is it enough?" When they hear what I have described, they know the message has gotten through, or not. Who am I to judge?

Just the decision to do the work requires courage enough. We work in a language with paint that even we don't always understand.

Somehow you feel the necessity of it. The need to take this up and to put this down. To stop here and to carry it on there. How can this rage be expressed? This fear? This courage to stand against the current? How to express the inexpressible? Why to we feel it elegantly or crudely represented in our raw mark making?

Why is there always the hope that this watermelon seed spit from our lives will grow a thousand fold to reach a future and an audience we can neither see nor touch?


OK, I've got to stop, now I've got myself walking into a fog of silly stuff.

Sounds familiar

The author Deborah Eisenberg, “You work and you work and you work and you work . . . and for months or years on end, you’re just a total dray horse, and then you finally finish something, and the next day you look at it and you think, How did that get there? What is that? Why were those the things that I seemed to need to say?”

My little talk with an excellent landscape photographer

John Deckert Brian -- because I'm hooked up with a lot of artists (probably most of them are landscape painters if I took a count) so every day I see a lot of beautiful works every day on Facebook. 
I just want you to know that you and your photographs rank right up at the very top of this amazing pile of art friends and their works. 
You have that special eye for killer compositions, subtlety in color, sensitivity to nature and its myriad forms and the absolutely loveliest sense of delicate details. I especially like it that you speak to us through your pictures not with theories and arguments and discussions. I'm getting breezy thoughts every now and then that sounds like, "Damn. This guy might be the Ansel Adams of our time!"
Please sir. Keep up the good work. I love it.

Brian Lawson Wow, thank you John. I appreciate it even if "the Ansel Adams of our time" seems a bit over the top to me. ;)
What are your thoughts on the color balance on this one? I received a vague "the colors look funny" comment on the ON1 site.

John Deckert Brian -- Relax. You must know by now that anyone that has a way with words can convince almost anyone else that, "There's something funny in the . . . " It's what words are for. They'll convince peaceful people to go to war. They convince honorable men to do dastardly deeds. They convince hard working people to sacrifice everything for a minimal return for the effort. Forget about those convincers.
Those colors are the colors YOU found; the ones YOU responded too. Be fucking proud of it. 
I'm sick of all the talkers talking about what they don't know. If they DID know, they'd be doing it themselves. But they're not . . and YOU are. Rejoice in that. It's why on my website I say, "Speak to me in pictures; Listen to me the same." That's exactly what I mean. You're doing it man. Wear it like a badge of honor and don't listen to the idiots. You're doing the beautiful stuff!
Wow! I got THAT excited without even a beer. LOL 
But I mean it.

And here’s my note to Mark Norseth:
The voice of nature speaking through you right here in this painting.
"Come from this bright light where you reside and chance a walk into the deep mysteries. See there is brightness and great beauty on the other side."

"Hey, you're missing the point."

Competition is probably pretty stiff in the art suppliers world. In many industries it opens up many vulnerabilities to disclose the ingredients of your product. Suddenly your buyers are inundated by marketing that describes how inferior your diamonds are to the competition's coal product. And you realise how your share of total sales are buoyed up by nothing more than marketing copy, fancy pictures, and the thread of hope that your customers know or care about the difference. So I think they should give some archival standard to measure by but I don't blame them for not hawking up their ingredients to you. It reminds me of those people who come to one of my paintings and their sole interest is, "How did you do that?" It's like, "Hey, you're missing the point."

In Mario A. Robinson’s paintings the world outside is a thin veil of substance animated by the slight breeze of melancholy, brightened with sober color and strengthened by unshakeable compositions. They are populated with subjects imbued of a calm confidence and meditative wisdom. 
Lucky you, if you have his work in your collection!

The advantage of a skylight

Apropos skylights and appropriate lighting for studio.

Natural light features VARIABILITY and EVENNESS.

There is VARIABILITY in COLOR temperature and BRIGHTNESS from AM to PM.

Proper skylight positioning allows EVEN ILLUMINATION in the space.

1.) Opening should face north to receive REFLECTED light.

2.) Steep or vertical light to avoid high sun slanting in.

3.) Early morning, high noon, and evening provide very different lighting conditions.

4.) Make your painting look good in each of these periods and it will look good in ANY lighting.

5.) Don't underestimate the value of observing your work in the dim light of early and late times of the day.

6.) Use artificial lighting as an alternate source to extend working hours.

7.) Artificial lighting offers one temperature and one brightness without variability.

It is neither the color temperature, nor the brightness which is most valuable to me but rather it is the variability of the light I find most useful. Plein Air painters who work outdoors in early morning, high noon and evening will know the same phenomenon but use it on three or four different paintings, one for each period.

Once you get me talking . . .

I suppose sometimes there's no other route to lead them to their eyes than through their ears. 

When I said I love seeing photographs of artists in their studios ssurrounded by their work:
Someone said artists should only be happy to their work on the walls of museums and galleries. 
I said that I like seeing my own work on the walls around me. It seems to be the natural environment for it. 
One of the sterling moments of my life was once when I was invited to Harvey Dinnerstein's studio. To be surrounded by his work as he must be for him too while working . . . That was so much better than a museum or gallery exhibition.
These things LIVE with us. They are not just product we put out for sale.

For an excellent fine art painter who is forced to leave his studio to find a job.
(Only temorarily, I hope) 
I said, "It feels like cutting out your beating heart, doesn’t it? Been there, done that. But it is just the pain you feel. Your heart, a little scarred now, is still in place. It still beats and you haven’t lost any of your hard won skills. Something will happen and you’ll be back at the easel in the future, though it may take a while. Take care of yourself. Look for opportunities. Like fishing, keep your hook in the water and be patient."

The dreaded Camera argument! It never dies . . . I like a good painting and I don't care how it was made. Even by Artificial Intelligence, if it moves me, it grooves me. If I hear some music and I want to dance I don't care if it's Frank Sinatra or a tape being played backwards. 
Now . . . if you want to compare the skills involved, that's a different matter. One is DIFFERENT than the other. That's about as far as I go. Except of course that I DO still like the human touch even when such lengths have been traveled to hide it.

A painting done by Artificial Intelligence

It apparently is expected to sell at auction for $10,000.
We have accepted the robots to do our skilled work. The robot, by which I mean a camera, draws a "perfect" picture, or at least most people accept it as a perfect representation. These days a few people learn to draw much like they might want to hike the Appalachian Trail from end to end. It's more efficiently done other ways but the craft and challenge of it has some aesthetic and personal rewards that are still valued by those odd people. I am one of these odd people. Everyone else take a selfie. Soon A.I. will take credit for work in the galleries and museums of the world and people will find some appreciation for it. You'll have programmers that specialize in the form like we have photographers.

You TAKE a photograph but MAKE a painting.  Will we say that A.I. TOOK this painting?

"Painting" created by A.I.

"Painting" created by A.I.

To complain that it is crude is fruitless.  The process will get better and I think the majority of people will accept and even celebrate the form similar to the way we think of photography.  Here, have a look at the first photograph.  Imagine artists of the period speaking of how crude it is.

How crude this first photograph must have seemed to a population skilled in draftsmanship.

How crude this first photograph must have seemed to a population skilled in draftsmanship.

Two Russians whose names I've forgotten created a project that involved surveying thousands of people about what they like in a work of art. Then they painted it. It involved a blue sky, a woodland setting with water nearby and an animal. I think a person or family was in the scene too. I have a faulty recollection but they may have created different pieces that corresponded to the preferences of various regions of the United States.
Komar and Melamid? Their Most Wanted Project .
Soon, you'll walk into a gallery, have your brain waves scanned and preferences tallied and a work of art made from the result specifically BY YOU and specifically FOR YOU.

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Combat Artists at the National Museum of the Marine Corps

This photo was taken at the National Museum of the Marine Corps in Triangle, Virginia just outside Marine Corps Base Quantico. We all gathered together for a Combat Art Symposium. Included in the group were Combat Artists from the Salmagundi Club in New York City, the Viet Nam era, and Iraq, Afghanistan, Mogadishu, Djibouti, and reaching all the way back to World War 2. Also present were curators of military art collections from the Navy, the Marine Corps, the Army, the Navy, the Coast Guard and the CIA. It was quite an impressive group and I am very proud to have been brought into the fold with my work.

Leatherneck Gallery in front of the Vietnam tableau. Attendees of the Combat Art Symposium 2018. — in Triangle, just outside Marine Corps Base, Quantico.

Leatherneck Gallery in front of the Vietnam tableau. Attendees of the Combat Art Symposium 2018. — in Triangle, just outside Marine Corps Base, Quantico.