A Tree Against the Sky

Tree, Sky Sketch Katherine Kean 2013
graphite approximately 9 x 9 inches

 Georges Rouault said, "A tree against the sky possesses the same interest, the same character, the same expression as the figure of a human."

I've always thought so, and think the same of mountains, plains, rivers, and oceans.

"Here is the deepest secret nobody knows.
Here is the root of the root and the bud of the bud
And the sky of the sky of a tree called life;
Which grows higher than soul can hope or mind can hide.
And this is the wonder that's keeping the stars apart.
I carry your heart.
I carry it in my heart."
E E Cummings 

"One brief moment caught from fleeting time..."

Clouds, Valley Sketch Katherine Kean
graphite 8 x 10 inches

"There would seem to be nothing more obvious, more tangible and palpable than the present moment. And yet it eludes us completely. All the sadness of life lies in that fact."
Milan Kundera The Art of the Novel

But must the moment elude us? John Constable's artwork sought to give "one brief moment caught from fleeting time a lasting and sober existence." Can the making of marks blend the present, future and past, connect the moment with the memory, and bring the past to a new present?

Or in the words of William Wordsworth: "Praised be the Art whose subtle power could stay, Yon cloud, and fix it in that glorious shape."

Reading The Art Forger

I found "The Art Forger" another fun and entertaining read, and almost as obsessed with surfaces, brush strokes, layers of luminous color, and compositional strategies as many how-to books on painting. The plot weaves art history with the contemporary, and references the mystery surrounding the Gardner Museum heist, in which two men disguised as ­police officers conned their way into the Isabella Stewart Gardner Museum, tied the guards up with duct tape, and made off with 13 artworks, including three Rembrandts, a Vermeer, and a Manet, altogether valued at $500 million. 

Pondering reproductions, copying, and forgeries tends to make one ponder basic questions about the value of art, doesn't it? If experts can not tell an authentic painting from a forgery, then what exactly are art buyers paying for? Is it status? Authenticity? Is it a look or a signature or a name? Or is it the participation in a unique and original vision that ownership provides?

Written in a first person narrative, the protagonist delves into details about forgery techniques, as she employs the famous art forger Han van Meegeren’s methods of painting. Van Meegeren used synthetic phenol formaldehyde resin dissolved in a spirit such as turpentine and/or an essential oil which would then be mixed with hand-ground powder pigments. This was then baked to change its chemical composition permanently, becoming insoluble in alcohol, or other common solvents. The results are described as so beautiful that I'm almost tempted to try it.

Resting, Recovering, Reading About Art

 While recovering I’ve had plenty of time to read, starting with Richard Schmid’s “Alla Prima” and Steve Martin’s “An Object of Beauty: A Novel.” I figure if I can’t make art then I might as well read about it, right?

Reading Schmid’s how-tos about direct painting when you can’t paint, but really, really want to is some experience. Normally I wouldn't have the patience, I'd much rather do it, even if it's wrong. Schmid reduces painting to the essentials, the simple steps that may not necessarily be easy to accomplish. He does a great job of breaking down a lot of valuable information into bite size pieces; selecting subject matter, palette choices and management, execution and finishing, and then smoothes it all out with some memorable tips. Squint at your subject matter (not at your painting), what to learn from your failures (figure out what is wrong and don't do it again), how to keep it simple (beware the lure of ostentatious techniques) and how to manage color to create harmonies (light does not lighten or darken without changing color). If you don’t already have this book, and are considering buying, know that there is an Alla Prima II coming out this fall – an expanded version.

Steve Martin’s novel takes the point of view of a collector. In that framework, it’s interesting to read some of his thoughts on what sparks an interest in a work, or erodes it. Along with the story, the dialogue is witty and relatable. “There is art in Los Angeles that rivals New York’s, but to see all of it you would need General Eisenhower to plan the attack. The Los Angeles County Museum of Art is miles from the Getty, which is miles from the Hammer, which is miles from the Norton Simon, which is miles from the Museum of Contemporary Art, and if the dots were connected on a map, you would see a giant circle running around the periphery of Los Angeles with no convenient route connecting them." And, trying to pinpoint the current non-art movement state of contemporary art: “There are a hundred categories. There’s ‘pale art,’ faint things with not much going on in them. There’s ‘high-craft OCD,’ you know, those guys who take a thousand pinheads and paint a picture of their grandmother on every one. There’s ‘low-craft ironic,’ a fancy name for wink-wink nudge-nudge.” Plus, there are reproductions worked into the narrative adding to the vicarious thrill of the "winding path that leads a collector to his prey."

One good read leads to another and I'm moving on to The Art Forger, Modern Art, An Almost Perfect Copy, and Eric Fischl’s Bad Boy.

Painter Interrupted

What’s on my easel?

I had to push through cobwebs to get in this week and take a photograph. What I found is this partially finished raindrop painting. This year started out strong but this spring I encountered one health issue after another. Not all mine, first they were my dog’s issues, then those of family members. In spite of all the worry I was enjoying the trips back east and seeing family, including siblings and nieces. Then I was diagnosed with Shingles and that more or less put a stop to all the fun for me.

Six weeks later and I think I may be starting to recover...

This kind of an extended time out has often served as a creative catalyst to me. Something about having a break in routine or being forced to rest seems to stir up even more ideas.

I’m looking forward to being completely recovered.

Any day now...

Goodbye to Bear

Bear and Tashi in the studio

I’m so sad to report that Bear passed away Tuesday night. Up until a few days ago I was still entertaining the idea that I might be able to have him with me for many more weeks, even months. Nothing about his illness has been linear, and after a few bad days his energy and spirits were up and he had been steadily regaining strength. He finished with crate rest and  was once again free to go about the house, having no trouble getting around, albeit slowly, even on the slippery wood floors. Then abruptly his illness changed course and he became so very tired, sleeping most of the time, and then seeming terribly weak. His breathing became irregular and suddenly this was bothering him – so much so that I took him again to the animal ER. They confirmed that the cancer was starting to pressure his throat, and it was time to peacefully let him go.

Bear was a steady companion, following me from room to room as I went about my day, or more often, anticipating what was next and leading the way. He liked to adhere to a strict schedule and would always prompt me when it was time for a meal, or a treat, or a nap, or a walk. Vocal, intelligent, and with a sense of humor, he made every activity he could into play. He would jump up on the bed so I could chase him off it while trying to make it – repeating as necessary, play tug of war with vines in the garden while I was weeding, chase the cat just because the vacuum cleaner was coming out of the closet and the cat was probably about to run, chase squirrels because they were chewing on the house, or chase squirrels just because. Without vacuums or squirrels present, it was fun simply running over  there in order to spin around and run back here – zooming back and forth. He was excellent in the studio, always supportive, never judging. He had a skill for kitten herding and supervision, and he was a great help in the kitchen.  He protected everyone from all the creatures trying to get in through the television, including dogs, cats, horses, and every other animal, as well as animated cartoon characters – he held them all at bay by barking at the screen until they went away. He was remarkably sweet and his loyalty was unfailing - I feel privileged to have had all the years of love and joy.

Hill, Field, Clouds Sketch

Hill, Field, Clouds - Sketch (Scotland)  ©2013 Katherine Kean
graphite on paper approx 8 x 10 inches

"Discipline in art is a fundamental struggle to understand oneself, as much as to understand what one is drawing."

Henry Moore