Marooned: A Solitary Pursuit

Once marooned, now what?

I don't believe that anyone ever really plans on being marooned on an island. I guess I have to take that back......the television show Survivor is a modern day exception. You can plan it and have it paid for and sign a contract for it. That's entertainment.

Two of my favorite stories are Robinson Crusoe and Swiss Family Robinson. I have read them again and again throughout my life. The story lines are similar: shipwrecked, survival, self-reliance, accommodation to newfound circumstances, meeting challenges in a strange land, social obscurity, attaining quality of life, eventual prosperity of sorts, rescue, and plausible return to society.

Speaking of shipwrecks, survival, and living one's life in a new direction,  it has been said that one must paint 120 paintings to learn anything about painting. An interesting thesis to pursue. I am leaning in the direction of that endeavor. Yesterday and this morning, I cut (100) 6" x 6" hardboard canvases and (64) 8" x 8" hardboard canvases. Each of them will be painted with an acrylic backing color. I am going to vary the colors among the boards for visual effect in selection.

More than any other time, this Artistic Endeavor feels empty, alone, and solitary. It does not have to be so, I know. There are many others who have found a more social path along which to explore their artistic journey. But this is where I am today and how I feel.

Original Photo: Moosehead Lake Island in Maine - Copyright James E. Martin 2011

Islands have a peculiar fascination for me.

Torn Between Two Things: The Struggle Continues

Once Upon a Time.... [all good stories start this way], I saw a movie, the title of which I completely forget. Only one line in the movie was memorable to me.  While seated in a convertible, a man and a woman are discussing life-changing events that effect each other and the line is: "I will always be torn between two things....like living in the country and living in the city....."  And that phrase has stuck with me ever since. It is suitable to build a novel around.

So today, dear Readers, I re-posted the first 90 days of blog entries [which were previously removed] as a way of re-entering the blog world. There is a large part of me that is reticent to do so in that I am aware of the commitment and follow-through required to sustain the blog effort in continuing to build and share. There is a part of me that says so to do. I recently perused the book "14000 things to be happy about" by Barbara Ann Kipfer and found that many of the items I rated as satisfying from her given list had to do with creativity associated with visual art. But I am having difficulty verbalizing the level of commitment I am willing to make in the near term. It is very much about who I am and/or who I am to become. Torn. A struggle.

Since this blog is a visual arts venue, I feel compelled to provide a somewhat suitable graphic to depict my feelings. This one comes to mind. And I don't have time to paint it in a timely manner to blog it promptly so the photograph must suffice for the moment.

Original Photo: Moonlight Motorboat in Maine - Copyright James E. Martin 2009 

I thank you, dear Readers, for your forbearance.

Evidence of a Struggle: Authenticity

I am listening to the still, small Inner Voice. Look for the royal color in future blogs and see where I venture.

"For all artists the problem is one of finding one's own authenticity of speaking in a language or imagery that is essentially one's own, but if one's self-image is dictated by one's relation to others and all one's activities are other-directed, it is simply not possible to find one's own voice....The painter cannot expend their precious energy in polemic.... Every painting by anyone is evidence of a struggle...."  from The Obstacle Race by Germaine Greer.

Eowyn Wilcox maintains a nice art blog with numerous links to other interesting resources. One of her entries provides the above-mentioned quote. That last sentence is a great insight. I enjoyed surveying her blog and links in my early hours over the last few days. She seems to like the Van Gogh story as well as I.  She got the Greer book for three dollars so she is a bargain hunter too. A kindred spirit. Her melodius name from the Old English means "delightful charger" as in "joyful horse". She also located a great Vincent quote about the Artistic Endeavor in the early venture....

"Do you know what has come into my mind, that in the first period of a painter's life one unconsciously makes it very hard for oneself - a feeling of not being able to master the work - by an uncertainty as to whether one will ever master it - by a great ambition to make progress, by a lack of self-confidence - one cannot banish a certain feeling of agitation, and one hurries oneself though one doesn't like to be hurried. This cannot be helped, and it is a time which one must go through, and which in my opinion cannot and should not be otherwise. In the studies, too, one is conscious of a nervousness and a certain dryness which is the exact opposite of the calm, broad touch one strives for, and yet it doesn't work well if one applies oneself too much to acquiring that broadness of touch. This gives one a feeling of nervous unrest and agitation, and one feels an oppression as on summer days before a thunderstorm. I had that feeling again just now, and when I have it, I change my work, just to make a new start." from Vincent Van Gogh letter to his brother Theo, February 1883

 Photo Courtesy: Artist on the Road to Tarscon - Van Gogh 1888 - Internet Commons Fair Use 

So we shall struggle along in this Artistic Endeavor. Knowing that other's greater than us have gone before us in the same manner. Weigh the anchors. Set the sails. Look for favorable winds. Charging forward to find the momentary joy. Focusing the nervous agitation and unrest of precious energy expenditure in a purposeful direction to the extent that we can. A new season may be emerging. Spring forward.  

Thank you Germaine Greer. Thank you Vincent. Thank you Eowyn.

Modernism in Art History: An Outline Pointing to the Future

Over the last three days, I have been reading and re-reading Christopher L.C.E. Whitcomb's excellent essay on Modernism in the art history timeline. He begins and ends his article with references to Suzi Gablik's Has Modernism Failed? (1984) with her view towards the hypothetical conclusion that "the end of Art is near". In particular, she asserts that if we as an art community and society hold that "anything can be considered art", then Innovation is no longer possible or desireable. I am not sure I see the connection. I have considered it axiomatic for quite some time that "anything created by man is formed for the purpose and use of man." That would even include art as an Occupation, art as a Statement, art as an Aesthetic, or art as a Recreation. Different purposes.

I liked the model of "Thesis-Antithesis-Synthesis" propounded in the paper and it appears to be suitable for the dynamic of art's social-political impact throughout history. Does Art only express and reflect current events through the eyes of the artist or can Art Change the World? Action or reaction? How much is this a chicken-and-the-egg syndrome?

The proposed objective of Modernism is the "creation of a better society". There are two alternative Antithetical reactions to the Thesis "society is better": (1) society is actually better or (2) society is not better. To make a judgement on that issue is a matter of opinion, is it not? If society has reached its epitome and reached the ideal of human actualization and full potential, then the influence of art has been accomplished. Perhaps then, Art as Celebration would become a genre. If society still has room for continuous improvement, then Art can still have a potential impact on creating a better world through Art as Statement.

Perhaps the Synthesis is that (1) the world isn't completely better if Artists need to earn a living with Art as Occupation; (2) Perhaps the world isn't better if Artists want to Change the World through Art as Statement; (3) Perhaps for some but not all recreational Artists, Art as Recreation is an escape and avoidance from other less relaxing and more taxing endeavors; or (4) Perhaps Art as Aesthetic allows us to portray Beauty and Truth as noble ideals in a world that isn't quite as Utopian.

So if Art isn't ended, where is Art heading in the future and what Innovation might be on the horizon? If we accept the Thesis that "Art is Original Expression" and contains symbols, icons, and meaning that reflect who the Artist is at a point in time and culture, then Art is Never Done. Rather, it reflects current social-political dynamics for the Artist as Creator.  For instance, mention is made in the article about Earth Art and Performance Art that redefines Art into genre that is difficult to categorize into historical genre. Each of these types is Art that is Fleeting and Momentary. A sign of the times that reflects an Artist's Worldview of Expression.

Perhaps then, I could propose that we would expect to see the (continued) influence of a number of Thesis-Antithesis-Synthesis dynamics in Art in the future reflecting current social-political influences:

• Western Cultural Imperative on Third World Countries versus Emerging Global Cultures and Diversity
• Individual Imperatives for Freedom versus Rule of Authority and Tyranny
• Bipolar Schisms, Separateness, and Isolation versus Unity and Connectedness
• Haves versus Have-Nots 
• Art for the Elite versus Art for and of the Masses
• Fundamental Religions versus Cultism versus Atheism versus Nihilism
• Big Government versus Big Business versus Big Religion versus Individual Self 
• Centralized Power versus De-centralized Power
• Original Art versus Copy Art (The China Influence)
• Control versus Chaos
• Quality of Life versus Survival
• Found Art with Recycling-Upcycled Materials versus Traditional Media
• Charitable Giving versus Art for Investment Return
• Disenfranchised Extremism Topics versus Mainstream Art Topics
• Great Master Works versus Art as Occupation versus Daily Painting Initiative versus Amateur Art

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.

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

There is Still Life in Degas and the Nude

Visited the exhibit Degas and the Nude at the Boston Museum of Fine Arts recently during an unseasonably warm 54 degrees in a Boston January and with no snow on the ground. Enjoyed over 3 hours of observation and note-taking. Lots of fun also to watch people and listen in on other's perceptions while seemingly appearing intent on my note pad. Which I was really!

Original Photo: There is Still Life for Degas - Copyright James E. Martin 2012

The MFA publication for the exhibit by Shackelford and Rey is in the MFA store and is a superb record of the walkthrough. I picked up my own copy to reference along with my own notes.

Fingers are itching to reach for the pastels, blending brushes, and french stippled color paper.

I briefly visited the European gallery after Degas and enjoyed the Impressionist gallery in particular of course. Have to spend another longer visit soon and take in the American Art gallery as well. For those of us who enjoy the French Impressionists, these are heart-pounding and breath-taking walks to take.

I am endeared to artistic chat with charming little old ladies with walkers who amble along and with only slight provocation speak their mind without hesitation about their likes and dislikes for the artists in the collection while they are being escorted by quiet, reserved, dashing, lightly-bearded, young men with bright eyes who casually besmirch a small knowing and patient smile while the casual conversation between not-so-distant strangers takes place.

Impressionism: Precepts 1-5: A Moment in Time

After many years of studying and reading about the Impressionist style, I happened upon one the best characterizations of the movement from a book in my local library recently. How did I miss this one? Modern French Painters by R. H. Wilenski. Originally published in 1939, I borrowed the 1963 edition.

Lessons Learned: In summary from the rich detail provided, the Impressionist articles of faith include:

• First, a visual impression of a scene from a moment in time accidently encountered by the artist
• Second, start and complete the painting of the scene en pleine aire, outdoors not in the studio, preferably in one sitting
• Third, utilize a bright and lively palette of tonal color
• Fourth, utilize a method of "broken color"...the application of pigment in small strokes that merge at a distance 

Although I have not yet finished reading the book, there is one other tenet that shows in many of the Impressionist's works that I think should be included:

• Fifth, utilize a unique perspective, angle, view, frame, and/or panorama

Like many articles of faith and in accordance with the tenor and reach of each artist during the period, these parameters were jostled in the community of practice between artists and over time as the Modern art movement progressed. Interestingly, Impressionism would be considered part of the Realism genre based on Tenet 1 and Tenet 2 emphasizing direct observation as opposed to an idealistic, romantic, or theoretical composition arranged from one's memory in the studio.

The advent and rise of photography would also coincide somewhat with the Impressionist movement and eventually supercede its prevalence as a popular way to record a moment in history.  In years to come, the 'Kodak Moment" would become the more republican and democratic way to create and record the important "still life" image. An ever widening user-audience could frame the picture with a simpler skill set than the time, training or talent drawing and painting might require. The digital age has taken "point-and-click-and share" to affordable new heights with remarkable quality and distribution.

My first original Impressionist painting according to these basic tenets was Celebration of Passage (2009).

Original Art: Copyright James E. Martin 2009

Description: I had been contemplating doing an original Impressionist painting for quite some time. My oldest daughter graduated high school in 2009 and my second oldest daughter graduated from middle school the same year. A graduation party was hosted in our front yard replete with red balloons tied to our white scalloped picket fence representing the local school colors. The following morning I arose with the dawn to complete the yard cleanup and beheld two balloons lazily drifting in a mild wind after losing some of their helium by the open corner gate. That moment in time, the two balloons yearning to be free of their restraints at the open gate from within the fences bounding our property iconified how I perceived my two girl's Celebration of Passage through one of life's gates to the next phase of their maturity and subsequent release to the world at large. I had planted a small Blue Spruce christmas tree at the corner years earlier which had the potential to baseline the painting and the girl's growth over time as we viewed the painting against the tree's growth in the future. The perspective and composition for the fence, shrubs, flowers, trees, and gate was there in the blink of an eye. No arrangement of objects required. The light was dramatic. Today was the day. This was the moment.

With the five tenets of Impressionism in mind, the easel was set up for a suitable perspective to frame the picture based on that moment's inspiration and the painting started and completed within a few hours using colors straight from the paint tube with little mixing. Although, I took digital photos throughout the session of what I was painting to characterize the changing light for later retrospection, I didn't refer to them because of the sun's glare on the small digital viewer. I recall a sense of anxiety about the manner in which the light changed during the session. But I very much enjoyed the challenge of coloring the grass in the yard based on its hillocks, dips and shadows. Speed was of the essence. I felt I couldn't paint fast enough. It was my first experience with the Impressionist approach in real time. I found it challenging and exhilarating by the time I was finished. I finally and actually knew in some small way what they had experienced in France during the late 1800s.I have found that my study of Victorian history and the Impressionist era has influenced my "mind's eye". Capturing those particular observed moments in Time and Space in my daily walk serves to inspire a litany of potential art motifs and locations. Some days I cannot outline the ideas fast enough. Studying the Impressionist paintings regarding their approach, development of motif, methods, and techniques has served to influence how I approached this first painting and what I was seeking to accomplish. But caution is well advised that a "formula" to painting is not necessarily what I am about or what I am after.Lesson Learned: Living in the moment is one of the life's deep satisfactions. The Artistic Endeavor and the Creative Pursuit help give meaning to some of the important moments. Seek to exercise and emphasize Tenet 5 to discover unique perspectives.