The Creative Pursuit: Driven Through Earth, Wind, Fire, and Water

We are Human and we are Artists.

We are of the Earth and return to dust, born of Water, cast about by the spirit Winds, and walk through the valley of the Shadow of Death lit only by daily Fires scattered among the Ruins of Chaos. We desire Light amidst the Darkness to establish Order from Chaos. We want to rise up, accomplish much, and Have something different. Which requires that we Be something different. Which requires that we Become something different. Which requires positive Change.

We are Artists and have been given to Believe that if we live our lives in the Artistic Endeavor through the Creative Pursuit, we will attain our ultimate and final Unique Potential which is the reason to Be and the reason to Become. Therefore we shall Create. We must Create to achieve our Unique Potential. We are driven to Create.

But what of Talent? Thinking of the biblical Parable of the Talents, we should avoid burying our one or two or five or ten Talents. To not use the talents we have been given? To Not Do? Oh, the horror! Could we even live with ourselves, never mind others with us? We pay the Price of Sacrifice to create or the Price of Regret to not create. To the biblical adherents, we are then guilty of failing to increase our Talents. There is something inferred here about the Accumulation of Wealth and Worth through Producing. As servants of the absent Master, we may incur His wrath when he returns after having given us those apportioned Talents.

Maybe I won't ever call my artifacts "Masterpieces" to maintain an appropriate position and posture of humbleness. Maybe if I call them "Talent-pieces", I can assuage some guilt. And maybe it is true that I have been given only one small Talent while others have been given many. What am I to do with that one? Bury it and endure the consequence?

And so the Daily Walk continues. It's like pushing a heavy bag of gold coins uphill in the dark in the similitude of Dante's Inferno. But I hope for inspiration and strength from above and outside myself. Illumination along the way. A clear head illumined with the right thinking. I fear the green of envy in my Hoarding consumerism and the red fires of hellish judgment for falling short in so many things along the Spendthrift way. I need focus for my Life's Energy to direct my hands and feet to trod the path and work the works in so short a time that is left. I am out of breath in only the thought. So I am Living the Moment at Idle Acres. Methinks I am leaking gold coin along the way to accumulating Wealth and Fortune. It is a transient farce.

"Now canst thou, Son, behold the transient farce, Of goods that are committed unto Fortune, For which the human race each other buffet; For all the gold that is beneath the moon, Or ever has been, of these weary souls, Could never make a single one repose. 'Master', I said to him, 'now tell me also, What is this Fortune which thou speakest of, That has the world's goods so within its clutches?'" Dante's Inferno Canto VII, lines 61-69

From Dante's Divine Comedy: Hell, Purgatory, and Paradise

Wealth and Fortune - The Transient Farce - Study 01  Souvenir of Dore

Copyright James E. Martin 2012

Art is the human Act of Creation. As humans, we Endeavor through our efforts and wish to have Control for their direction. We desire to have a Voice and speak our World View. We desire to Live Forever. We desire to Overcome our average and ordinary limitations. We desire to avoid living and dying into Obscurity as if we had never been. We are tempted perhaps to lead and have followers. To Build something special. Oh, the many Temptations and Desires that lead us astray from our Endeavors!

The Creative Pursuit and the Artistic Endeavor involve the design and the making of a never-before Artifact springing forth from the unique life experience, observation, insight, heart, mind, soul, and hand of the Artist in a moment of Time. No other soul can truly replicate it because the Artist is THE source of the artifact's creation. It's the grand ah-ha in the eureka moment of inspiration.  It's the grand ha-ha in the divine comedy. Beware the comparison and the contrast!

It is a type of assertion that "We can be as gods" or even that "We can be God". We can create from nothing. We make Light from Darkness. Our Light is separate from the Darkness and our Light will keep Darkness away. It's the eating of the fruit from the Tree of Life and the Tree of the Knowledge of Good and Evil. We see what others cannot see and hear what others cannot hear. We walk among the invalids. We are the Genesis.

And who are we that reply against God in this audacious Artistic Endeavor? No small matter then that two of the ten Biblical commandments are "Thou shalt have no other gods before me" and "Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth." Warnings and admonitions indeed!  How auspicious then that the Artist might say to the Maker, "Why hast thou made me thus?" as the hand of the potter upon the clay.

As mortal humans, none of us escapes crossing the deathly threshold between Time and Eternity. The work of Art may persevere after our earthly stay is finished and it can no longer be replicated or edited by our hand. Are the artifacts of Art a way to cheat Death by leaving a part of ourselves behind? We can still influence and inspire others through our Works even after we no longer remain in the flesh?  We can be as gods and have a semblance of immortality and truth. People will still talk about us and think about us. We can escape Ignominy. Few knew who Van Gogh was in his day. Look and see his works now. It's a kind of worship with pilgrimage to his haunts.

What of the natural man and the spiritual man? What sayest we in these roles? We are guilty of creating images and likenesses of things seen in heaven and earth. That's fairly self-evident. The natural man wars against the spiritual man. Yikes. Perhaps in different degrees among us. Perhaps in different flavors between us. But Yikes.

Each moment we lay hand to brush to paint to canvas, we create. We speak our Voice. We wrestle with principalities and powers. We wrestle with things unseen as yet. We dream dreams. We wrestle with natural and divine things. We suffer slings and arrows. We take arms against a sea of troubles. We attempt to oppose and end them through our creation. We would like to end the heartache and thousand natural shocks that flesh is heir to. And perhaps, there is something in us that declares we may someday be capable of a masterpiece. To express Self. Now are those consummations devoutly to be wished?

If we choose not to lay paint to canvas, we are destined to live and die in Obscurity and Darkness. It's as if we never were. Our personal Darkness will be on the face of the deep. The creation will be without form and void of our Creative Pursuit and Artistic Endeavors.

This Daily Walk is an auspicious and audacious Journey through the natural and spiritual realms. Artists are driven in a unique manner. So I commit to tread lightly but deliberately. And prepare for the coming Judgment.

Today is the Leap Day of the Leap Year. An extra day apportioned in the plan to catch up the clocks for Timekeeping. Given time, can we paint our future, I ask?

Serge Marshennikov: An Ideal in the Realistic Genre

It is such a modern day marvel to meet others in BlogWorld and thereby expand one's own horizons by Serendipity. I have admired the writing and photography of Ms. Labergere from the Basque region in France and her portrayal of the lifestyle and challenges of career change and sheepfarming in Farmhouse in Provence. Recently, she shared her love for the art of Serge Marshennikov available at Hallmark Galleries.

I am quite enamored with the Golden Red Headscarf in chiarascuro.

Photo Courtesy:  Serge Marshennikov in Internet Commons Use

Serge's females are superb romantic ideals and reminiscent of William Bougereau's innocent jeune fille at the turn of the century. Incidently, at the time, Bougereau's portraiture's and the works of the Impressionists were at philosophical and artistic odds since one was a studio work expressing an allegorical ideal in the realistic genre and the other en pleine aire works forming a momentary accidental impression of light with dappled brushstrokes. Both of course attempting to express an emotive feeling.

I can see the influence of culture and heritage in his works and am also reminded of some of the works of the Russian Impressionists through color and objects.

Although I have previously outlined some elements of what might constitute a Masterpiece, one additional attribute about a Masterpiece is that it is achingly, jaw-dropping, heart-stopping, extraordinary! It makes the Viewer's heartbeat just a little bit faster in the presence of the eloquent exposition. And isn't it true that we experience a twinge of Envy of Acquisition for the Artifact which is just a little bit of our human nature. Today I can only consider the personal feeling of ineptitude for my feeble and humble artistic skills and express profound admiration for these works and exhibit quietude and awe in the presence of a Master.

Thank you Serge Marshennikov and thank you Ms. Labergere for the introduction.

Stages of Artistic Growth:

David Liebman has listed numerous Reflections on the Artistic Process worthy of detailed review. If I read him correctly, restate slightly, and add a tad bit in the last two steps, there are six potential Stages of Artistic Growth related to the Artistic Endeavor:

• Initiative:   Understanding and absorption of artistic standards and expectations through appreciation of art history
• Imitation:   Ability to duplicate artifacts and methods to minimum criterion; Practice and learn; Inspired from historical precedent
• Integration:  Personalize and participate; Improve; Develop Balance; Find and explore one's Own Artistic Niche; Develop Artistic Control; Inspired from and affected by contemporary Space and Time
• Innovation: Develop one's own unique Instrument, Importance, and Individual approach; Find and express one's Inner Voice and Self
• Inspiration: Branded Work causes achingly, jaw-dropping, heart-stopping, extraordinary responses in Audience; Wants to make Viewer wish to stop, drop, and worship; Instills a significant measure of Humble in the Viewer
• Iconification:  Based on reception by Audience, elevation of individual Artist's Branded Work to heightened social awareness and recognition

Restated in a different way: (1) Start, (2) Copy, (3) Survive and Do, (4) Stretch into Originality, (5) Communicate Emotion, and (6) Famous

Dear Reader: This is not an attempt to make the Path along the Artistic Endeavor too simplistic nor trite. Just some reflections for consideration towards achieving one's Unique Potential.

Bad Art: A Threshold of Acceptance in the Creative Pursuit

Although I find the controversy of who is an Artist versus Not-An-Artist compelling, it is also interesting to me to examine the concept and controversy of Good Art versus Bad Art. There is even a place where we can examine exemplars and non-exemplars directly. It is curious to note the presence of the Museum of Bad Art (MOBA) as a place where Artifacts considered "bad art" are curated.  Some of the Artifacts are more representative or "popular" than others to illustrate the genre.

Photo Courtesy: Mama and Babe - Museum of Bad Art (MOBA)

The site provides numerous illustrations for the Good-Bad controversy in what might be considered the extreme end of the range. Society continues to reinforce a strong link between the Artist and their created Artifacts. Yet reviewers seem to be willing to assert that any Artifact that expresses an Artist's creativity is still Art. That's a courteous and respectful position. It is evident in this MOBA venue that Art's appraisal by reviewers is still quite Subjective even in this lower range of acceptability. As bad as an Artifact may appear to be in the majority opinion, there may still be individual reviewer's who assert "It's not that bad and I like it for such-and-such a reason". There are Differences of opinion. Perhaps things to learn about Art and Humanity. How people respond to the value of Respect for Diversity is revealing about the human condition.  I find it useful evidence to support the assertion that Freedom of Expression in Art's Review as well as Freedom of Expression in Art's Creation is an important element in the Artistic Endeavor.  And further, to be respectful, the "Artifact tells us something about the Artist but not everything" and the "role of Artist tells us something about the Person but not everything". I would generally but humbly assert that the Creation tells a lot about the Creator. But probably not everything. So it's not the Final Judgment.

The MOBA Artifacts are also interesting in what they say about the role of Originality in Art. Originality alone is apparently not sufficient to aid an Artifact on its road to becoming acceptable nevermind a Masterpiece. And yet Originality is a desireable and perhaps key attribute many would associate with Good Art and with Art's greatest Masterpieces.

So how do we go about to create and retain Bad Art? Some potential reasons why some Artists fail to reach the threshold and rise above the level of achieving an acceptable art form in their Artifacts might include one or more of the following attributes of Artistic Insight, Formulation, and Expression:

• Failure of Observation
• Failure of Composition
• Failure of Technique
• Failure of Imagination
• Failure of Frame or Installation
• Failure to Balance or Trade Artistic Freedom and Artistic Control
• Failure to Destroy after a Failed Effort or Exploration

I am reminded though that, historically, the Impressionists were allegedly subject to loud and vocal criticism, giggles and guffaws, and ostracism when their work was first shown in public over these listed failures as criticism. Over a number of years. Indeed, their efforts required separate venues and locations to show their work since it was rejected by the established art forums. And yet, within their departure from the mainstream lie the roots of Modern Art.

Perhaps in the MOBA Artifacts we are in fact witnessing a very real Artifact that is a bona-fide expression of a somewhat failed Self at a moment in time through failed Art. And it is difficult to view the genuine and real failure of Another in close proximity in the realm of the Connectedness of Humanity. And again, there is a Range of Failure and a Range of Tolerance to it.

Perhaps there is something to be said about the manner in which the Artist allows their effort to contribute to or destroy their potential Reputation and Brand. Perhaps we are witnessing evidence of a type of self-destruction whether intentional or unintentional in that some Humans and some Artists have not yet learned the self-protective mechanisms helpful to either Survival or Growth or Success. Knowing how to identify a dead-end in the Artistic Endeavor or Creative Pursuit, when to destroy an Artifact, and how to preserve one's core Self and/or artistic process and results amidst an environment of experimentation may be indicated. Sometimes we have to just avoid or stop self-destructive behavior. But it may be true that for some Artists, the need for Self-Expression trumps any other consideration even Rejection or Criticism. It may even be true that some successful Artists have destroyed or painted over Original Artifacts that might be deemed Valuable by Others. Again, is this a Mistake, an Error, a Travesty, or a deliberate Freedom of Expression by the Artist?

Perhaps the MOBA Artifacts tell us not so much about the elements surrounding the Artistic Endeavor but more about the elements important to a successful Creative Pursuit. In other words, each of the Artist's that created an Artifact that ended up in the MOBA applied their Life Force and Energy to their participation in their own Artistic Endeavor along their Life's Journey which appears to be a commendable Journey. But for various reasons, their Creative Pursuit may have left something to be desired. Perhaps the MOBA controversy can be evaluated thus: We are not rejecting their choice of the Artistic Endeavor but we reject or may not accept the results of some aspects of their particular Creative Pursuit. More on the Creative Pursuit at a later date.

What is Art? When Does the Artistic Endeavor Begin?

Drawn in September 2010 one month after yesterday's entry, Number Three Daughter provides further three-year-old Expressionism as depicted below. To my knowledge, she was not using any particular real world object to represent but this came from within her imagination. I marvel that this is a part of her still, small Inner Voice at the moment of the design and creation. Her rendition makes me think of Matisse due to the expressive simplified curves and the riotous Fauvian color. As her Dad, I was impressed with her unprompted ability to fill the entire canvas with at least two types of methodology - the curves and the color patches.....which was a milestone for her as well and one of the reasons why this work was retained by me. I call this original artifact Souvenir of Matisse (2010) but, of course, I am merely an admiring father. It makes me think of a clump of Bananas at rest on a surface. She continued to utilize the extended curves as a design motif for the next few months in more than one artistic session without referencing prior efforts which I found remarkable. When recently asked at five years old, she did not have any recollection of the subject matter or the representation at the time of creation two years ago.

Original Art: Souvenir of Matisse - Copyright James E. Martin 2010

Based on the Concept Attainment model proposed in yesterday's entry, there appears to be evidence of  Sensation, Attention, and Perception in Daughter's rendition at the time of creation but apparently the Labeling, Meaning, or Emotion for this particular effort may not have been explicitly retained in her longer term memory.

So, dear Reader, when does the Artistic Endeavor and the Creative Pursuit begin? What is the difference between an Artist and Not-An-Artist? When do we start on the path to achieving our Unique Potential along Life's Journey? Do we require an Audience for our Art? Are Teachers, Critics, and Reviewers required? Is an Original Artifact required? Is it necessary for the Artifact to be retained for posterity? Or Publication? Or Gallery Showings? Or world-wide Distribution? Is Self-awareness and Self-assertion of the Artistic Endeavor required? Is Commitment necessary? Is a Declaration of Intent required? Is Instruction required? To what degree is there evidence of Artistic Insight, Artistic Formulation, and Artistic Expression in the piece shown? These are apparently controversial matters in the affairs of mankind.

Concept Attainment: A Model to Understand Abstraction

My Number Three Daughter produced this piece on corrugated stock, I call it, Souvenir of Cezanne (2010), in August of that year when she was three years old. I recently asked her at age five if she recalled doing the work and she did not. Of course, proud Dad's are prone to this sort of collecting, naming, and labeling behavior. For me, it reminds me of Cezanne's splash of color in flat blocks without significant shape modeling or shadows. As I recall, this was one of the first efforts if not the first piece whereby she covered the entire surface with color leaving no gaps. I recognized that as a milestone for her development and retained the piece because of that. So why do I show this today?

Original Art: Souvenir of Cezanne Copyright James E. Martin 2010

There are attributes in Daughter's painting that make me think of Cezanne. There is Conceptual Similarity based on my experience and perception. And yet, her rendition is nothing like Cezanne.

I submit the following model of Hierarchy of Concept Development and Attainment to show some of the cognitive and emotive machinations we go through to identify and learn new concepts and how we differentiate concepts with intention to Explore and Innovate. It has been useful to me in the Realm of Art:

• Sensation  (Sight, Hearing, Taste, Touch, Smell, Proprioceptive)
• Attention (Focus on some things not others)
• Perception (Assigning meaning to what we sense; Patterns; Correlate to memory)
• Imagery (Develop an internal construct image in memory based on the external object)
• Labeling (Assign a name and taxonomy for the internal and external objects)
• Emotional Attribution (Assign emotional meaning to internal and external objects, i.e. like or dislike, trust or distrust, etc.)
• Concept Formation (Develop a higher level complex object with numerous attributes based on exemplars and non-exemplars)
• Concept Differentiation (Distinguish one concept from another based on comparisons of similar and dissimilar attributes)
• Abstraction (Develop a superceding, generalized, simpler model, a de-construction, or partial exemplar of a concept by adding or removing selected rules or attributes)

The reason I mention this Hierarchy today is because I am experimenting with some Formulations and methods generated from Impressionistic methods that appear Abstract in appearance. It is an unintentional and unplanned effect to get into Abstract appearances. This Hierarchy model can help the Reader evaluate what they are looking at when seeing new art or evaluating an Artist with a different look and feel to their Artifacts -What attributes do you see? What do you focus on? What does it mean to you based on your experiences? What other things does it remind you of?  What would you call it?  How do you feel about it? How is it the same or different from other things you have seen or experienced? How far out beyond your own experience is it? This is new territory for me to be delving into Abstract Art but I have an objective in sight and reason for conducting these experiments.  More to follow, Dear Reader.

Frolic in the Sun:

Another sketch from the early book. Impressionistic. Bright color palette. Beach motif. Daughter dancing in the warmth of the sun. Expressing a feeling.

Copyright - Frolic in the Sun - James E. Martin 2010

 

This was during a period of time where I was just becoming aware of the Daily Painting initiative. There is much to be said for the skill and fortitude of many artists making that commitment. As Shakespeare said, "Tis a consummation devoutly to be wished!" I still have work to do.

Daily Walk: Splash and Play to Your Hearts Content

In April 2010, I was developing an increasing sense of wanting to re-emphasize the Artistic Endeavor and Creative Pursuit in a more deliberate manner in my life. I purchased two simple sets of drawing pencils, colored pencils, and colored markers with drawing pads of three sizes and kept one set in my vehicle and one set in my drawer at work. During lunches, I was then free and able to take some time and focus on Art to Relax by getting away from the daily grind. Materials were available and the mind was ready. This sketch reminded me of my then three-year old daughter's direct approach to joy in life - giggling, marching, splashing, twirling, hand waving, kicking, and jumping in the water to a full heart's content with her eye's intent on the effect of the splash in the warmth of the sun. I kept it at my desk as a constant reminder of my deep need to return to these basics and to visualize the benefit in my child's experience and in the Me as Child.

Original Art: Copyright - Heart's Content by James E. Martin 2010

As adults with responsibilities in a demanding and dynamic world, it is so easy for us to forget or avoid the riches of childlike play and exploration as a contributor to joy in life. In the Practical World, other Forces direct what we do with our Time and our Money and our Spirit and even our Self. And then it becomes an adult habit....to not play and miss the fun.  We might even lose some of our sense of Self over a period of time.

Dear Reader, let's agree not to forget about including those activities that bring us fulfillment in our Daily Walk. It's a daily time for repose, recreation, remembering, recovery, restoration, reaching back, and reaching forward. Welcome and prepare for the effects of Serendipity in the Creative Pursuit. Apply and direct our Life Force and Energy purposefully and with deliberate intent to those things that we know are of Value and contribute to expressing our individual Unique Potential.

Lessons Learned: Prepare for and make ready. Listen to our still and small Inner Voice. Return to our roots. Fill the cup on a daily basis to your Heart's Content.

Painting My Future: Starting an Unforeseen Mountain Climb One Year Ago

About this time last year, I was researching images for cherry blossom pictures. Springtime was arriving and I was looking in all sorts of places for reference images where I could put some small studies together signifying the harbingers of spring. Part of my thought process emphasizing fruit tree blossoms was triggered due to a review of Van Gogh's image of Japoniere -Almond Blossoms (1890). Many of the Impressionists were influenced by Japanese paintings and this one in particular shows that influence in Van Gogh's effort. I liked the overall composition and color contrast and was thinking that several small paintings could potentially be accomplished as daily painting initiatives focusing particularly on the branches and the blossoms in detail and arrangement. I never did get to do that.

Photo Courtesy: Van Gogh - Japoniere Almond Blossoms (1890) - Internet Commons Fair Use

As you may recall, on 11 March 2011, Japan incurred a devastating earthquake and tsunami. That event changed the scope and direction of what I wanted to portray. My cherry blossom research had incidentally included historical images of the peak period in Washington DC. Those trees were a gift signifying peace, healing, and restoration from Japan to the US people after WWII.  That concept influenced my thinking about the meaning and feeling of the blossoms and was timely Insight.

I was preparing a speech to a group of people about meeting challenges and was developing  the topic of "Why We Climb a Mountain" and, of course, Mount Fuji, was found in some of the cherry blossom images. As I was winding all these keywords [i.e., journey, tidal wave, tsunami, earthquake, mountain, Fuji, cherry blossom] into my dual tasks of content and image searches for speechmaking and artistic endeavor, I came across a particular woodblock cut entitled The Sea of Satta by Hiroshige (1858) that depicted most of the components of the composition I was interested in portraying except for the cherry blossoms. This was an important historical and Japanese artistic Influence.

 Photo Courtesy: Hiroshige - The Sea of Satta (1858) - Internet Commons Fair Use

I chose to compose a triptych (a three-panel effort in landscape orientation) to facilitate using the painted images in a step-wise progression for my speech exercise and also wanted to include the cherry blossoms as the harbinger of hope and restoration based on those recent events in Japan. I intended to at least finish a rough study of the Artifact to satisfy my intent to derive content, image, composition, color, and overall unity and utilize the images during my speech presentation as well. My thinking at the time was that I would get to a finished Artifact in a more durable medium at a later time.

Souvenir Art: Copyright James E. Martin (2011) - A Study of the Sea of Life

So the short version of the Study of Life's Journey goes something like this: We start in Our Center of Intent with Our Ship and Set Sail in Fair Winds on a Calm Sea to Our Destination to climb The Mountain that we see On the Distant Horizon. But along the way we may get diverted where there may be Hills to Climb with hardscrabble Bonzai trees clinging to the steep Cliffs in High Winds and Hard Weather and there may even be Sweet Blossoms of Spring or Breezes for Repose, Restoration and Hope as we Hike along those difficult Hills and Valleys along the Path. Occasionally, out of immediate sight, we may get hit with a Tsunami that seemingly takes us quite Off Course and may even be Devastating to the Intended Journey. Tsunamis are caused by large shifting tectonic plates underneath the land and sea. Mount Fujiyama lies at the intersection of four of those plates incidentally. But Why Do We Wish to Climb the Mountain? There are many reasons in the diversity of the human endeavor. For some it may be the Destination.  Perhaps because no one has been at the mountain before. Perhaps to say we have done it. Perhaps it's to be the first. Perhaps it's as simple as "To get to the Top". For some it may be the Journey.

Later in the year in September, I experienced my own personal earth-shaking tidal wave of sorts during an occupational Reduction-In-Force layoff but I had heard and felt the pre-indicative rumblings for a long period of time. We don't have a lot of control over some events that happen to us along our Journey. How we handle these events may indicate a lot about who we are, how well we are prepared, how much resolve we have to go forward, and where the source of our strengths lie.

So, this Artifact is still a Work-In-Progress. I didn't get to start the little floral studies. I drafted the tryptich but have not yet initiated the finish piece. The Journey includes the Artistic Endeavor and the Creative Pursuit. Sometimes there are things we must do to recover after a life-changing event blindsides us. Sometimes we must reconnoiter a new sidestep. Who would have thought where the Path would lead one year ago? Interesting to reflect and look back at my thinking and activity one year ago. Going forward? One step at a time. One in front of the other. Today's Daily Walk. To everything there is a season.

The Equilibrium of Reasonable Art: The Artistic Endeavor

Oddly and somewhat unexpectedly, I have been drawn by Serendipity from my longstanding preference for the Impressionist era into reading and research about the origins of Modern Art evolving from the Impressionist roots. I have been extremely fortunate to come across a copy of Matisse: His art and his public (1951) by Alfred H. Barr, Jr. published by the Museum of Modern Art in NY.

Guillaume Apollinaire, a poet and art critic, interviewed Matisse and wrote up an article in La Phalange in December 15, 1907 and numerous excerpts from the article are noted in Barr's book [underscores below are my editing emphasis]. I am superstruck by those written precepts that resonate with me in these economic times today - more than a century later. This is all about The Artistic Endeavor even though some of the quotes are about Matisse's specific Creative Pursuit leading to the development of his Original Artifacts.

Photo Courtesy Guillaume Apollinaire: Internet Fair Use

• "When I came to you, Matisse, the crowd had looked at you and as it laughed at you, you smiled. They saw a monster there where a wonder was taking shape." [Apollonaire]
• "I have worked to enrich my knowledge by satisfying the diverse curiosities of my mind, striving to ascertain the different thoughts of ancient and modern masters of plastic art. I tried at the same time to understand their technique." [Matisse]
• "...retrace for me the adventures of this perilous voyage to discover your own personality. It proceeds from science to conscience, and leads to complete forgetfulness of everything that is not your own self.....Instinct is no guide; it got lost and we are trying to find it." [Apollonaire]
• "I found myself or my artistic personality by looking over my earliest works. They rarely deceive. There I found something that was always the same and which at first glance I thought to be monotonous repetition. It was the mark of my personality which appeared the same no matter what different states of mind I happened to have passed through." [Matisse]
• "But this took place at its own good time." [Apollonaire]
• "I made an effort to develop this personality by counting above all on my intuition and by returning again and again to fundamentals. When difficulties stopped me in my work I said to myself: 'I have colors, a canvas, and I must express myself with purity, even though I do it in the briefest manner by putting down, for instance, four or five spots of color or by drawing four or five lines which have a plastic expression.' " [Matisse]
• "You have been reproached, my dear Matisse, for this summary expression but you have thereby accomplished one of the most difficult tasks: to give a plastic sense to your pictures without the aid of the object except as it arouses sensations." [Apollonaire]
• "The eloquence of your works comes first of all from the combination of colors and lines. This is what constitutes the artistry of a painter and not - as some superficial spirits still believe - the mere reproduction of the object." [Apollonaire]
• "Henri Matisse makes a scaffolding of his conceptions, he constructs his pictures by means of colors and lines until he gives life to his combinations so that they will be logical and form a closed composition from which one cannot remove a single color or line without reducing the whole to a haphazard meeting of lines and colors." [Apollonaire]
• "To make order out of chaos - that is creation. And if the goal is to create, there must be an order of which instinct is the measure." [Apollonaire]
• "To one who works this way the influence of other personalities can do no harm. He has his inner conviction, which comes from his sincerity; and the doubts which harass him only stimulate his curiousity." [Apollonaire]
• "I have never avoided the influence of others. I would have considered this cowardice and a lack of sincerity toward myself. I believe that the personality of the artist develops and asserts itself through the struggles it has to go through when pitted against other personalities. If the fight is fatal and the personality succumbs, it means that this was bound to be its fate." [Matisse]
• "It is by incessantly comparing his art with other artistic conceptions and by keeping his mind open to other related arts that Matisse has attained the greatness and confident conviction that distinguish him." [Apollonaire]
• "...Know the artistic capacities of all races...[also know] our inheritance.....find here the nourishment that we love....and the spices from other parts of the world can at most serve us as seasoning....in spirit....meditate upon.....standing at this crossroad......look at himself.....find the path which his triumphant intuition shall follow with confidence....." [Apollonaire]
• "We are not in the presence of some extremist adventure....the essence of Matisse's art is to be reasonable....The conscience of this painter is the result of his knowing other artistic consciences. He owes his plastic innovations to his own instinct or self-knowledge." [Apollonaire]
• "Because there is a relationship between ourselves and the rest of the universe, we can discover it and then no longer try to go beyond it." [Apollonaire]

Dear Reader, this is precisely about the Artistic Endeavor...it is precisely about the Creative Pursuit.....it is precisely about the Inner Voice....it is precisely about finding Self in the universe of greater things...it is precisely about creating Order from Chaos....but in my humble opinion, it is not only about Creation or about Art or about Objects, not only about the development of an Original Artifact, and not only about being just an Artist.

It is about the application of one's Life Force and Energy. It's about reaching one's Unique Potential.

The "Equilibrium of Reasonable Art", a phrase that Guillaume Apollinaire instantiated in 1907....is a lot about Changing the World. But in a form and a format that has Informed Reason by the Individual, of the Individual, and for the Individual. It is all about the buying and selling of an Individual's developed Self and Expression in whatever Occupation the Artist endeavors in the Market Realm of Greater Things. This is not a trivial notion.

But what about Resistance, and Impedance, and Controls, and Differences, and Opinions? What about Tyranny and Oppression and Famine and Poverty? What about Selling Out? What about Giving Up? What about just Getting By? What about Respect and Diversity? It's about the Struggle. It's about Supply and Demand. It's about our personal Exchange through multiple Transactions with Others in the grand Marketplace for Things of Value. We each define what Value is for us at a moment in time, do we not? What do we Buy? What do we Sell? What do we Produce? What do we Consume? It's about Freedom of Expression. Are we actually free? And to what degree? It's what we choose to surround ourselves with. It's about  practical matters such as "Is_Anyone_Demanding_What_I_Want_to_Supply"? Or Is_Anyone_Consuming_What_I_Am_Producing? At what Price? At what Cost? It's about Change. It's about resolving Fairness and Equity. It's about the Past, the Present, and the Future.

Art has always been a Lightning Rod serving as a conduit for Potential Energy that Changes the World. Individuals expressing Self. Individuals who wish to criticize and Control Others. Individuals working and laboring to obtain what they Want or Need. It's a grand scheme of Equilibrium. My personal opinion is that it is not just about Art. Thank you Mr. Matisse and Mr. Apollonaire.

The Artistic Endeavor: A Baseline Model for Continuous Improvement

The Artistic Endeavor is a deeply personal venture that perhaps cannot be fully explained nor defined due to its prevalence, range and complexity in the human experience. I have considered other reference material, my own experience and insight, artists I have known or studied, and case studies of extreme examples to formulate this model at this time. I share it realizing that the viewer may very well assign from their own perspective a different value, order, weight, priority, or new element. For me today, the Artistic Endeavor.....

(1)   Values and increases Freedom of Insight, Formulation, and Exhibition emphasizing personal and individual Freedom of Expression
(2)   Focuses on and expresses one's own Life Force, Personal Energy, Self, personality, and style
(3)   Listens to, values, and respects the Inner Voice
(4)   Results in new, original Artifacts with some degree of  Aesthetic Value, Lasting Value or Potential Effect
(5)   Expresses a Vision and/or Objective with Meaningful Content and an Emotion
(6)   Involves the Selection of Media
(7)   Involves a Channel and Venue resulting in some level of Communication Effectiveness
(8)   Has a unique Drive, Search, and Intensity to the Journey in what becomes the Realized Path
(9)   Results in an individual's growth towards their Unique Potential which eventually becomes Ultimate and Final Realized Potential
(10) Involves Sharing Your Worldview with an intended or un-intended Audience
(11) Elicits awareness of, sensitivity to, and influence by Internal and External Sources and acts as Sensor-Receptor
(12) Is a Persevering Lifestyle not necessarily a temporary situation
(13) Does not imply or necessarily result in Making an Income from art
(14) Is different than being an Art Marketer, Gallery Owner, or having a Business in Art
(15) Is different than Exhibiting Art or Publishing Art
(16) Is different than just having an Art Appreciation
(17) Is different than being an Art Collector
(18) Is different than being an Art Critic
(19) Is different than being an Art Copyist, Art Counterfeiter, or a Fraud
(20) Is different than being an Art Teacher, Instructor, Mentor or Coach, Counselor, or Leader with Followers
(21) Is different than being an Art Student or Art Professional (With Education, Training, Position, Achievements, Competition, Credits, Awards, Dedication, Portfolio, Studio, References, Acclaim, Reputation, Self-description)
(22) Is different than having Art Knowledge, Ability, Skills, Experience, Competence, Talent, Tools, and Materials
(23) Is not dependent upon attributed Art Feedback, Critique, nor Opinion
(24) May exhibit, value, and embrace Respect for Diversity
(25) Undoubtedly will cause one to personally face and experience Failure, Fear, Doubt, Rejection, and Risk
(26) Involves Partial and Temporary Fulfillment through the Creative Pursuit

Summary: Worth all of a quarter and a penny for the 26 elements today. Left-brain and right-brain stuff. Is a foundation for where I am jumping off from, headed to, and why. Is subject to additions, deletions, and modifications in the future for numerous personally expected reasons. Perhaps this outline has some value for others along their path.

Question: Where did this start.....? "You're not an artist. You just have Internet."

What Makes a Masterpiece?: The Artist as Philosopher

Another serendipitous borrow from the library was What Makes a Masterpiece? edited by Christopher Dell. A quick scan of the introduction results in numerous keywords and phrases such as "timeless, profound, works of genius, visionary, perfect, transcendental, pinnacle of a creative career, works that define an oeuvre, instantly recognized...." which perhaps are terms that most Viewers of Art would correlate with "Masterpiece" but may be too ambiguous to define or differentiate major from minor works or ordinary works or particularly indicate the future for a Work-In-Progress.

The purpose of a Masterpiece, similar to any Artifact, might be to inform, to entertain, to commemorate, to educate, to reinforce beliefs, and/or to encourage reflection or devotion. Generally, a Masterpiece might portray technical virtuousity, groundbreaking skill, and originality of approach giving some indication that the piece is "On The Edge" of historical normalness in that it ventures into a new arena previously unexplored. It may push into new areas of Insight, develop new Formulations, or Express and Exhibit new Ideas. The book suggests that a Masterpiece reflects value judgements and may well be defined by juxtapositions of the Maker, the Viewers, and the Culture of its Time. Also, a Masterpiece tends to reflect Universal Concepts and Values that become Timeless and therefore could be considered Transcendental.

It's value as a Masterpiece may be related to the quality of the materials and the time to produce the Artifact. Works from the heart, head, and hand of an Artist deemed to be a Master...whether deceased or alive...may be considered to be exceptional and highly valued but may or may not be considered a Masterpiece per se.

This book cites Kenneth Clark in What is a Masterpiece? (1979) indicating that a Masterpiece is both:

• "a confluence of memories and emotions forming a single idea" and
• "a power of recreating traditional forms so that they become expressive of the artist's own epoch and yet keep a relationship with the past"

But I remain unconvinced....based on those two premises alone as distinguishing characteristics of a Masterpiece versus Works Other Than a Masterpiece. Christopher Dell indicates that in Modern art in particular a distinguishing feature of a Masterpiece is less about the quality of the Artistic Formulation or even the resultant Artifact but rather it is "Ideas That Count". Perhaps to stretch that verbiage further, the art "Makes a Difference" or "Changes the World" or has an "Impact on Humanity".

If a Masterpiece is truly timeless, it would reflect not only the Artist's own era and also reach into the foundations of art history and the human experience but I might add the following.... that a Masterpiece....

• Instantiates a New Idea at a Moment in Time thereby adding to the timeless and transcendental universal Aesthetic

Perhaps Kenneth Clark's definition is more appropriate if we say "...forming a single [evolutionary or revolutionary] idea" (italics mine).

So, Dear Reader, we can pick our favorite Artist and review the pieces of the Master that we adore, compare them against these listed criteria, and see how they stack.  What is the New Idea that we venerate for each Masterpiece instantiated at its moment in human history?

The Methods of Renoir: Adjacent Strokes with a Flick of the Wrist

My next endeavor in concert with Jonathan Stephenson's Paint with the Impressionists (1995) instructional Number 4: Trees on a Ridge (after Renoir). According to the book, Renoir's approach includes:

• Start with a primed, pinkish-grey canvas
• Use a rapid, brush outline drawing 
• Record the position and essential shapes of key features
• Follow with color to further define the subject
• Use brief, springy brushstrokes maintaining a wet medium
• Brushstrokes are adjacent to one another with a slight curve
• Develop a sense of light and shade
• Coordinate shape and direction of brushstrokes for appropriate effect

Here's my effort after executing the approach with a nod towards Renoir:

In the Glade Copyright James E. Martin 2011

I found this Artifact more difficult to resolve to an endpoint. I can see the potential for working this approach with changes in palette emphasis and with even more flow and sweep in the overall feel with an evolution towards a greater delicacy.

The Methods of Pissarro: Filling the Gaps

My next experiment followed Jonathan Stephenson's Paint with the Impressionists (1995) instructional Number 3: The Rowan Tree (after Pissarro). According to the book, Pissarro's approach includes:

• Starting with a white canvas
• Ignore all aspects of drawing
• Avoid specific outline and detail
• Observe color and tone as mass and occupied spaces
• Use small brushstrokes and progressively fill in gaps working layer upon layer
• Long periods or working and re-working

Here's my effort after executing the approach with a nod towards Pissarro:

Souvenir Art: On the Beach Copyright James E. Martin 2011

Although there was a bookplate image to work from in the book, this image is very different than the bookplate and comes from within me rather than from direct observation of nature. This is increasingly a form of Expressionism using Impressionism methods. The title reflects what I see.

Poppy Field After the Storm: An Experiment of Comparison

I wanted to execute another painting immediately after the first Storm Over Poppy Field and experiment with how it might differ but still remain the same. Here's the result.

Souvenir Art: Poppy Field After the Storm, Copyright James E. Martin 2011

Storm Over Poppy Field: A Drama

Have been taking lots of Cloudscape photos over the previous year and had a chance to play into some of that Insight and Inspiration with this work after Jonathan Stephenson's Paint with the Impressionists (1995) instructional Number 2: Poppies on a Mound (after Monet).

 Souvenir Art: Storm Over Poppy Field - Copyright James E. Martin 2011

As part of my Creative Pursuit, the most fun for me in this piece was the depth of contrast in the clouds and the play of light in the poppy field. The look and feel is quite different than the example provided in Stephenson's book which appeared to have much more open daylight. I also think that my image was influenced by my years spent in the Maine Woods and I was feeling that when I put brush to canvas. Part of the Artistic Endeavor is to observe, follow, accept mentoring and coaching, and be influenced by other sources. I wrestle a bit with the mentoring and coaching inherent in a personal relationship or through an art book only because part of my Artistic Endeavor right now is about Freedom. I can be excited by the work that other Artists are exhibiting but I can feel the constraints embedded in following another while developing an Artifact in this manner. Searching for Self. Moving forward.

Burst of Activity: Experimentation Toward the Daily Painting Initiative

I am very smitten by those artists who commit to the Daily Painting initiative. I am not there yet with the discipline and fortitude required for that level of effort since I have some other irons in the fire at this time in my life but I have a view towards that end. Nevertheless, I am learning something from each artistic session I am able to complete resulting in an Artifact.

In the Fall of 2011, I borrowed a book from the local library Paint with the Impressionists (1995) by Jonathan Stephenson.  I found it to be very readable and inspiring. He describes the technique and approach of the Masters and applies it to a scene of his choosing. I was able to go through about half of the book before I had to return it to the library. I was able to preview and work through four of the prescribed lessons:

• Linseed fields near Drakeholes (after Monet)
• Poppies on a Mound (after Monet)
• The Rowan Tree (after Pissaro)
• Trees on a Ridge (after Renoir)

After an overly long hiatus from my personal Creative Pursuit, reading Stephenson's book and starting on some of the lessons was one of the stimulus' that got me started on a Burst of Activity to break through and get some Works on the canvas. I have taken lots of Cloudscape photos over the last year and have been wanting to work some of that effort and Insight into my Artistic Endeavor.  Since I am a self-taught artist, I found it different to follow someone else's written artistic instructional advice with a provided example and work on something in the studio rather than en plein aire.

With no disrespect at all for Mr. Stephenson's direction, I found it just a tad less "fulfilling" perhaps because there was less Insight required regarding the composition and less Formulation required to decide how to arrange and complete the Work in the Journey. Emphasis for me on this task was mostly on the use of the media towards the Artifact. As you may recall, dear Reader, the Impressionists generally preferred to paint from direct observation of nature. Contriving a composition from memory or through indirect observation indoors was not indicated by them in the 1800s. Here's one of my first efforts with an explicit nod towards Monet's style.

Souvenir Art: Linseed Fields- Copyright James E. Martin 2011

Cherubs and Putti: Coypel's Triomphe de Venus (1693)

For the last six months, I have been researching and studying Old Master drawings and Renaissance art. Just a whim really that put me outside my nominal interests for the Victorian era. My wanderlust approach was not necessarily in a deliberate, disciplined way but was a fun roaming of sources following those items that appealed to me in style or content.

Also, during the Fall of 2011, I knew I wanted to produce a stylistic and possible nude work in dry pastels prior to my planned visit to the Degas exhibit in Boston Museum of Fine Arts since I would be viewing many of his works in that media. I became interested in the content of angels, cherubs, and putti because of the holiday season. I selected a small, image from the left-hand side of Noel Coypel's Le Triomphe de Venus (1693) as a source of inspiration.

From that small putti, I developed an 18 inch x 26 inch pastel and framed it for the holidays.

Original Art: Le Triomphe de Venus 01, Copyright James E. Martin 2011

I had completed some fairly small pastel works previously...perhaps considered more Studies than anything of note. In this particular piece, I was fairly well pleased with the synthesis of Inspiration, Insight, and Formulation resulting in the Original Artifact. This was the first time I had produced a pastel of this size and it was very different  for me in content and style. It is my first "nude" so to say. There is some attempt to utilize a Renoir color palette but is timid in that regard because it doesn't go far enough with the brilliance of color value. Backing off the color vigor, though, provides a more serene, ethereal sense consistent with the subject matter. Perhaps.

However, lest I become exalted in any semblance of artistic pride, my first critic..... also known as my wonderful, out-spoken five year old daughter and therefore well-regarded.... entered the house, took one look at the framed work of a nude angel, and pronounced with a loud gutteral belly laugh...."butt crack".... therefore providing an alternative title to the effort. So this is an itsy bit about how Manet might have felt when Luncheon on the Grass aka Le dejeuner sur l'herbe (1863) and Olympia (1865) were introduced in their respective debuts as an artist's statement about Artistic Freedom. Freedom of Expression does indeed go both ways!

So much for the lofty heights of artistic Aesthetics. The Artistic Endeavor and the Dialog continues!

Living the Moment: Lightness and Darkness

Chiaroscuro is an Italian term for "light-dark" according to Wikipedia.  Stylistically, I find its use compelling in both painting and photography. My earliest recollection of its dramatic, stylistic use was in the Kool Jazz Festival advertising in the 1980s. I enjoyed the images so much that I started my first clip art collection by saving the magazine pages for inspiration years and moons ago.

I have some ideas for about three or four paintings which involve straw hats and happened across a vintage reproduction print of Thomas Sully's The Torn Hat recently. Although it was relatively inexpensive, I wrestled with its purchase because the reproduction was relatively low fidelity but it appealed to me and I acquired it not with an intent to frame it for my walls but rather to use it as a model for my own painting and interpretation. I could have referenced a web-based image but I didn't. I chose not to conduct any further research on the original nor about Sully nor view any other copies on the Web prior to my rendition. Incidentally, the original is at the Museum of Fine Arts in Boston so I should have a chance to go see it in the near future in their collection. This past fall, I set the easel up outside shortly after bringing the reproduction home and completed my perspective. I also appreciated the opportunity to strengthen the blue and yellow values which reach into my appreciation for the Van Gogh genre.

Souvenir Art: Sully's Torn Hat Copyright James E. Martin 2011

It's my first portrait. At the Beginning, the canvas was without Form and Void and Darkness was upon the Face of the Deep. General swaths to establish lines, scale, and proportions...sketching with paint. Paint further applied to canvas to establish general tones and...behold.... Light separates the Darkness. We have a Reason to select What to do and Why and Where and How and Who. Something that attracts us or wells up within us from who we are and where we have been before. We must start somewhere in the creative act. At the Beginning is probably a good place to start and each of us comes to our Understanding of the Impetus and Our Imperative in a different way and manner. We are on the road. It's not easy to steer a parked car so moving forward is a good momentum.

I have always been intrigued through observation that a realistic flesh color value involves both the rosy pink of vital, underlying bloodflow with the Energy of one's Life Force and the pale grey of Death on the margins. I was able to experiment with that in this depiction.  Depending on the aspect angle of vitality, we are moments from the Abyss. To me at this time, it reflects Living the Moment and the fragile, transparent interface between the philosophical Life and Death. But far apart from mere philosophy and rhetoric, we live or we die in the moment. Lightness or Darkness. We are influenced by the others that have gone before us or by the Artifacts that other Artists of Originality have left to stir our Souls and our Spirit. Their Artifacts leave an Impression on us in different and manifold ways. We have Freedom to do and create to our heart's content. If we choose not to do, our own Darkness remains upon the Face of the Deep.

There is something in the Artist that compels us to Create. It is a still, quiet Voice that demands to be heard and requires the application of Life Force and Energy to be applied towards the Journey resulting in the Artifact. Each Artifact says something about the Artist. But each Artifact is only part of the Creative Pursuit, a brief sojourn in the Artistic Endeavor, and a partial understanding of Self. And sometimes Serendipity influences what happens on the Path towards our Unique Potential.

But it seems fairly straightforward to me that the Light separates the Darkness. It's a grand scheme.

A JEM Model of Attribution: (I) Impressions to (J) Journey to (E) Expressions

In many of the art manifestoas that I have reviewed, Freedom of Expression is consistently asserted. I have been recently wrestling with a model of assertions that expands and explains the influence of potential freedom for the Artist. There appears to be a lot of debate, sometimes vehement, sidling close to arrogant and downright hostile, about what Art is, who is an Artist and who is Not An Artist. I find the dialog compelling.

From my humble perspective, I would hypothesize a model of approach to art in a three step phase approach: (1) The Impressions, (2) The Journey, and (3) The Expressions. Remember this for the end of today's entry, OK? To anyone who is methods-oriented, this aligns to an "Inputs-Process-Outputs (IPO) descriptive model. To clarify with different nomenclature perhaps more from an Artist's vantage point of what happens at each phase, I offer a restatement of the three steps: (a) Artistic Insight, (b) Artistic Formulation, and (3) and Artistic Exhibition. Insight, Formulation, and Exhibition, in my opinion, are closely related not just to the development of the Original Artifact but are also closely associated with the Artistic Self. Also, I would further submit that the Journey to Originality for the Artist is also about distinguishing Self from Others on the road to achieving one's Unique Potential.

Now, I offer an added definition layer to the onion skin with an emphasis on each component's contribution to the Artist's prime directive of Originality as a result of Freedom exercised at each phase of artistic execution, therefore:

The Journey                     Description                                    The Output
The Creative Pursuit          Concept Innovation for Originality    Artistic Insight
The Artistic Endeavor         Develop Approach for Originality      Artistic Formulation
The Original Artifact          Attraction of Others to Originality    Artistic Exhibition   

The purpose of citing a possible model approach is not necessarily to prescribe a three step "process" to producing art although it may serve to provide a very high level menu approach. Rather, for me, it is a descriptive summary and consolidation of many different observations and anecdotes about artist's Worldviews and Perspectives about how they approach their endeavor. As a working hypothesis, I can utilize this model of thinking to fit scenarios and anecdotes as an instrument to evaluate Differences in Worldviews and Perspectives. I want to investigate whether there is a model approach than can embrace the various artist experiences in all their complexity.

I personally am interested in exploring (A) Freedom in Artistic Insight during the Creative Pursuit, (B) Freedom in the Artistic Formulation during the Artistic Endeavor, and (C) Freedom in Artistic Exhibition through the Artist's Creation of the Original Artifact. I am further interested in how Art has an impact on and can Change the World. Or how it has historically changed the world.

Going forward, I intend to sign my artwork with my initials "JEM" which, of course, attributes the work to my heart, head, and hand. But I also intend those initials to signify "Just Every Man". The rationale herein is to understand the human experience and human nature through the experience of Art and to understand what it means to Change the World through the practice of the Creative Pursuit, the journey associated with the Artistic Endeavor, and the impact on the Artist and the Viewer due to the creation of the Original Artifact. Without disrespect to gender-biased language use, it is about "Just Every Man" to be inclusive in generic use of the term with respect and diversity.

Further, going forward, I intend to sign three letters after my initials signifying my personal relative emphasis on each of the three aspects of the work described in this blog entry denoting Impression/ Journey/ Expression, upper or lower case to signify emphasis, i.e. "IJE" or "ije" or "Ije" or  "iJe" or "ijE" or "IJe" or "iJE" or "IjE"....eight possible combinations.  Individual works may have more Life Force and Energy associated with the Insight, Formulation, or Expression phases of my creation of that particular Artifact. I will denote that sense of my perspective. For instance, I may conduct a painting after a long hike to locate the correct motif and perspective with more innovation and emphasis on the immediate observation in nature but with lesser regard for innovating in the selection of media or the time spent on the developing the artifact itself because of the need to expedite it due to environmental conditions. I might sign that Original Artifact "JEM-Ije". On the other hand, I may execute a work from a photo or a still life arrangement where relatively little emphasis is on the Insight or the Formulation of approach but much more emphasis is placed on the Expression of the idea in the development of the Original Artifact itself...the painting style and details to accomplish the desired end result. I would sign this Original Artifact "JEM-ijE".  Based on feedback over time, I may have some insights to share on the JEM model, the Artist, and the Viewer perspectives about Art. Could be fun.

The Late Summer of Life: Season of Change

Although we may live in the best of times, it appears and feels as if the times are a'changing on a global scale. In September 2011, I was part of a Reduction-In-Force layoff where I worked for 11 years. After a few weeks of getting some administrative things in order, I set up the easel in a nearby town next to a gently flowing stream and applied paint to canvas. Needed to get more dabs of Impressionism laid down. It was not necessarily a secluded motif and a few observers popped over and quietly partook of the Work-In-Progress.... aren't we all?

Original Art: Season of Change, Copyright James E. Martin 2011

I can look back at many canvases I have painted in my lifetime and they have spoken of events in my life with feelings at that moment in time. I surmise that the meaning of this one will continue to mature over time as I look back. Leaves may be falling at the end of one season but the water still flows, the light still shines, and this season too shall pass. The location and motif made me reminisce about canals in Holland 16 years ago. Which reminds me of two other paintings I would like to start and complete with someone in mind (as I take out my To Do list and add entries).

The Best of Friends: A Mentor of Stuff n'Such

Every year during the summer, we have taken some time to coordinate a visit with long-time friends in Sangerville Maine on a lake called Center Pond. When I was an undergraduate in college out in Illinois, I became friends with one of my college professors and worked for him and his family doing some construction projects in Illinois or in Maine. Over time, we became best friends. In fact, Bob has defined for me what a best friend is about and that hasn't always been easy for me...a very private and independent person. Bob is chuckling now.

A few years ago, I decided that I would do at least one piece of art each year during the time that I went up to Maine. In my mind, it would be imperative for me to do SOMETHING at SOMETIME no matter what other activities or imperatives might be at hand...and it hasn't always been easy. One of my first Impressionistic waterscapes was At the Lake, Sangerville Maine. I remember the challenge of the wind changing the waves, the clouds, and the light so quickly. I was able to experience where the Impressionists in France would then try to capture the feeling associated with the essence observed of the motif based on the exact moment's accidental experience captured during the artist's en pleine aire session. Looking North with a late afternoon sun in the west and wind from the east, I tried to capture the churning of the water and the light filtering through the shallows with the late sunlight backlighting the tree's at high level but the low shrubs at water's edge shrouded in cool, dark shadow. My vantage point included left foot on the beach and right foot in the water so there is a bright and warm sun and a coolness in the wind and water challenging each other and me.

Original Art: At the Lake, Sangerville Maine, Copyright James E. Martin 2009

For all those past thirty years of visiting Maine, through my eyes, Bob Cassidy, my friend and mentor, has always done some creative artistic thing in some shape or form. I don't think he ever really retired after finishing his occupational endeavors because he soon emphasized his art full-time and got a street-side studio.....Stuff n'Such in Illinois. I have been fortunate to have Bob as a mentor in that I have seen him develop over a long period of time as an artist, he has given me insight into the lifetime curve years ahead of my time to arrive there. I am watching his art career emerge and evolve because his example as a lifetime learner has helped me see what it is to return to one's roots, understand one's self, find one's center of balance, begin and walk the artistic endeavor, and follow the creative pursuit even amidst adversity and life's challenges. He is still asserting self expression with an intense personal drive to continue his art journey each and every day with a sense of urgency. And he has such a wonderful family that I have been privileged to know and love.

Thank you Bob for showing me that I have an Artistic Endeavor and a Creative Pursuit to accomplish during my life's Journey and the deep satisfactions that are possible. I just talked with Bob and he filled me in on his art accomplishments conducted today and his outlook for the near future that he needs to get done. He is a fine example of the artist Living In The Moment and ambling through the Daily Walk. Here's to achieving one's Unique Potential this day.

The Artists Manifestoa: A World View and Basis for Personal Commitment and Progress

Many art manifestoas have been declared throughout history and if one loves history, philosophy, political science, social science, activism, etc., some time and effort can be spent on their review and critique out in WebWorld.

At this time, I am willing to personally commit to something simple and straightforward that supports artist personal development that will help guide me and that embraces the many roads that others may take as well. I do not yet care to adopt a much larger or far-reaching one that may address the type of art to which I commit or that promulgates a particular social agenda or that tries to change the world through artist collaboration as yet. I sense that my commitments to further principles will continue to evolve over time. I appreciated this one which is outwardly inclusive with Respect for Diversity but focuses to a great extent on nourishing the strength of one's own Inner Voice by Amelia Critchlow.

(1)   We are all artists/ creators
(2)   Know the source of your passions. Therein lies the root of your art.
(3)   Research continuously
(4)   Ask questions relentlessly
(5)   Never accept anything anyone says as a given "truth". Find your own truth and express it.
(6)   Know what you enjoy
(7)   Do what you enjoy
(8)   Master and refine your own talents (Not others)
(9)   Do something every day, if not every week, to feed your art
(10) Never let criticism stop you from doing your art, ever

Conclusion: I will walk this walk. Continue to nourish and listen to the Inner Voice. Be Inclusive and Respect the Diversity.