What moves those of genius, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough. - Eugene Delacroix
Did you miss us?! Apologies for the delay in posting the latest episode of the Sight and Insight podcast. We are a day late and all we can say is that the producer was laid low by the heat yesterday. Well, that's her story and she's sticking to it.
However, we are here now, bright eyed and bushy-tailed and ready to share a few thoughts on 'Inspiration.'
Inspiration. What is it, and where does it come from? Can you learn inspiration, or is it one of those things whereby, if you aren't born with it, all is lost? Join Connie, David and Judy as they share their thoughts and opinions. Connie especially, with her psychology background makes some very interesting observations, not least of which is that we have to "get out of autopilot." If you think it applies to you, than take a listen as she tells you how to get out of it.
David talks about how he was inspired by the art of Renaissance painter Paolo Veronse, not to emulate Veronese's subjects, but to be inspired by his sense of design. David then went on to combine what he'd learned about design, with the inspiration of nature, to create his own unique landscapes.
Paolo Veronese (1528-1588) The Conversion of Mary Magdalene, ca. 1548, o/c, 46 x 64 in. National Gallery, London, Wynn Ellis Bequest, 1876
Connie suggests inspiration grows when one challenges onself, as painting outside of your comfort zone can get the creative juices flowing. She also suggests we should work on creative strength training. Sounds good? Stay tuned.
The trio also discuss Ingre's painting of The Source (below) as, perhaps, an explanation of the Muse as a springhead of creativity.
Jean Auguste Dominique Ingres, La Source(aka The Spring,) ca. 1820 – 1856, o/c, 63 x 30 in. Musée d'Orsay, Paris. Bequest of the Countess Duchâtel, 1878.
Meanwhile, Judy remembers how New York artist, and editor of The Masses magazine, John Sloan (1871-1951) came to Rocky Neck, East Gloucester in 1914, at the behest of painter Charles Allan Winter. Generally a painter who waited for inspiration to strike before setting out with his equipment, Sloan produced 90 paintings during that summer of 1914; more than he had accomplished in his career to date. Wherever he looked on Cape Ann, he found something to inspire him, be it an effect of light or the ambiance of an art colony. His own explanation was, “I would set out with my equipment and walk a mile or so until I saw some kind of subject that had exciting plastic rhythms and color textures that could be the starting point of a theme.” What artist could ask for more?
John Sloan, Helen Taylor Sketching, 1916, oil on canvas, 26 ¼ x 32 ¼ inches, Everson Museum of Art; Gift of Reverend and Mrs. Benjamin Lake, 65.13
The endless variations of light on dark, dark on light, light against illumination, white on white, black on black, blue on cold, blue on warm and so on, are eternally inspiring.-- Sergei Forostovskii
Until next week, stay cool, and happy painting,
Connie, David and Judy