Published in french as Peinture à l’huile et santé

The truth, where is it? The truth what is it ?
Large question indeed.
Is not the truth subjective ?
Physically, it depends upon the point of view.
For exemple, Is a photography a true representation of reality? It is rather the vision of it that the photographer has wanted to give by not putting into it the garbage which is just outside the shot. The notion of in the field of vision / outside the field is already an interpretation witting or unwitting of the “Truth”.
Psychologically, the truth is even more subjective ?
Two persons will live a given situation in two very different ways. And however this experience is one (in the meaning unique) and therefore it has a priori only one truth. This makes me think about factual truth. After all a fact is a fact, unquestionable, confirmed.
But though, in history, the historical thought based upon real facts is in constant evolution. In science, the verity of to day will not be the truth of to morrow.! The discovery of a new “scientifical truth” will shake the truth.
I think we need to ask ourselves the question of the truth that we accept: our own truth, the one of our family, of our kin, of our colleague, of our culture, of our time. And for art, with my poor knowledge in this area, I think that the essential is that the artist respects hi truth, his own truth in the instant he is creating ( so “be true towards yourself”).
I agree with Corot about the truth of the first impression.
We finally come back most of the time to our first impression about people, about the landscape, about the content of our plate (here visual), about our future housing, about our work, about the work what we are looking at.

Denis responds :

Thank you Anne for your thoughtful remarks.

Here is the bottom line for me, I believe that what we see and what we think about that experience is important. We arrive at an understanding of what the words we use to describe and explain things represent. When they arrive at the point of becoming abstractions we can then get those words into perspective. In this context, it is not the things we know that create problems for us … it is the things we know that are not so. A poor grasp of abstract thought or abstract words compounds those problems. (I’ll write more about this probblem in a future article.) Art is largely about a good grasp of the tradition of painting and problem solving, not the pursuit of abstractions such as our common understanding of the word truth.

As you see, Anne, I am short on answers, long on questions. I trust that my studies and intuition lead me to good ones. This, I believe is the path of a painter.

Ciao, Denis,

Published in french as Commentaire et réponse sur “La vérité du peintre”

In the middle of the 19^th century, Sainte Beuve summed up the current state of affairs thus: “The beautiful, the true, the good is a fine slogan and yet it is specious. If I had a slogan it would be the true, the true alone. And not the beautiful and the good get along as well as they can.” He was, I believe, speaking to the importance beginning to be placed on scientific and artistic truth. He was close to the painters. Corot was to talk about the importance of the first impression, truth and accuracy. Odd, considering he was so adept at fitting his impressions to classical notions of composition and design.

Truth. Exactly what is it? Does it have a connection with “to thine own self be true”? Is it enough to follow the current opinions flavored with the latest ideas as to the meaning of truth? How is a painter to know what to paint? Is it really as simple as truth or fiction?

Questions.

Most painters blindly follow the zietgeist. “You must be free and unique like no others.” This is not freedom. If you are not free you would not know the truth if it bit you on the arse. Freedom is a precondition for the painter or any creative individual.

Published in french as La vérité du peintre

The other day my wife read on FriendFeed that “a society without a stable arts base is a parking lot”. I do not know who it was that said that but they nailed it. I began writing this blog (first article posted originally in April 2007) with this essential core thought. I mean what in the hell are we thinking of. Art is today exactly whatever you want it to be from a pile of rocks, a dead cat, to you name it, n’importe quoi.

Many art pundits tell us that Marcel Duchamp is responsible for this state of affairs. They imply that exhibiting a urinal and signing it “R. Mutt” started this slide to nothingness. What utterly simplistic bullshit. Having said that, understanding what has gone on over the last couple of hundred years with European Culture is not easy. I do not by any means consider myself an intellectual but I am a thinker with good intuitive instincts. It has literally taken me at least 50 years of continual reading and pondering to just begin getting my mental teeth on the problem. This blog is an attempt at clarification. For these fifty years I have been a slave to this pursuit: paint is the symbolic medium and writing an exercise in understanding.

Interestingly, the interest as measured by traffic to this site is significantly weighted to French readership. The English visits are very low. Reading anything from this is difficult at best. (For one thing I live in France). However, I am very thankful to have a strong French following. Having said that, my purpose in writing is not strong reader following. I am attempting to learn how to talk about things I am beginning to recognize as important. Understanding seems to be the name of the game. Making money and fame have never been the goal of honest painters.

Published in french as Esclave de la peinture Partie II

I believe we need to get past it and move on to more important issues. Otherwise, art has the risk of becoming irrelevant. It clearly already is for all but a very small number of people. And I’m not at all sure this is a healthy sustainable situation. But, then again, progress in art is not a straight line. It has often moved in reverse.

Published in french as Esclave de la peinture Partie I

The World Wide Web has expanded in some sense the horizons for many of us. This conflict directly, however with the social interactions from which we drew our substance a few years ago. One way in which it has done this is the explosion of self professed authorities and experts. Consequently, the process of connecting with an audience has become actually much more complex overnight so to speak. A rule of thumb for the working artist (i.e. professional artist) was that it was necessary to spend around one-half of the time devoted to the business side of things. Boy; has that changed. I don’t know about you, but for me the time left over for painting has dropped dramatically. Where is this leading us?

Leaving aside this question of time, another aspect reared its ugly head for me recently. No matter how sincere you may be, some individuals truly detest what they perceive you to represent – a charlatan world attempting to overturn the “natural” and “normal” order of things as they understand them. That they may be missing a few important screws never occurs to them. The elevator simply does not reach the top floor.

Now I do not find fault with this state of affairs. After all it has been going on quite some time now. I certainly do not fault the individual as his condition corresponds to precedent. However, I do find offence with the individual with mental abilities very much above the status quo who participates thus with the zeitgeist. He, or she, should know better; shame, shame on them.

Whenever and wherever I encounter this particularly offensive person I am compelled to point them out. This, even though today you are at great risk, more than just a few simply consider you as another self-appointed authority without moral foundation.

Again, I find myself being quite vague. In this case I quite simply do not wish to spell out the ugly details. They could easily be lost in translation as well as though cultural misunderstandings. Suffice it to say that even at my advanced age I sometimes find cause to question my justifications. But to pursue the explanation of these justifications is to play bad poker. An intelligent poker player does not bet good money after bad. Likewise to spend good energy after the fact in another context is to avoid the obligations of your day-today life as a creative personality.

Published in french as Le quotidien des peintres

The rule that there are no rules is the appeal of what some understand as the Zen approach: the anytime anything goes ethic, or non-ethic as it were. We get into difficulty, it seems to me as painters by applying this “beat? philosophy (i.e. this is not classic Zen) in a rigid manner. Properly understood the Zen perspective gives the latitude to “think? in terms of right and wrong in a limited domain such as painting; This, even though the world at large is seen to be beyond right and wrong when it is not put into a frame. But without some form of intellectualizing each painting’s outcome is as precarious as a throw of the dice.

“The superior man understands what is right, the inferior man understands what sells.? (Confucius)

In the changing conditions of today, there are certainly no silver bullets. Things have been difficult for painters for some time and will continue for the foreseeable future. All is not doom and gloom however. Think back to the adverse conditions which the impressionists faced: having to flee France for safety, the destruction of paintings, extreme financial conditions and so on.

Galleries in France seem to be threatened by the internet. I have not had this expressed directly by gallery owners. It is simply an observation of their reactions when I bang up the subject. As difficult survival has been for most of them recently this reaction is easy enough to understand.

I hold out hope that I’ll find that one gallery that I want to associate with. I believe it is best to work only with a single gallery. Also, it is important that the relationship is a good fit. It will not work otherwise.

Published in french as Règles pour les peintres

Add to this complication the fact that the artist is obliged to become a businessman or businesswoman. For the professional painter or artist today they are obliged to spend at least one-half of their time taking care of the business and promotional side of things. All of this is to say that being an artist today is a very complex issue. And there is nowhere to run and hide from the complexity. The paramount task in the mist of all of this activity is to create art that speaks to people. It is not enough, and not even relevant, to simply do something considered new. The very long dialogue about which art is the most decadent or who is on the avant-garde cutting edge has now to my ear a hollow ring. There are many more important issues which urgently need attention. Being an artist today has something to do with identifying and addressing these issues. The pundents are not going to do it for us. Not easy. How are we to do all of this and pay the bills at the same time?

We need to walk our talk. Not easy. But where are we to hide? All of the good hiding places are gone.

Have fun,
Denis

Published in french as À première vue