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The Herald And Tfie Lantern

Wednesday, November 21,1979

FOLLOW THE

: "yellow brick ! road"

PAINTING4 from tlxe groianci Q-* JtcryiCfU^

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What is it that gives the paintings of the "Old Misters" that special quality and how can one paint with similar effect? Undoubtedly, each Master delivers his own mark and that cannot be duplicated; it is ik unique as a thumb-

print.

Today, we take it for granted that each artist has a style worth pursuing. At times, style is of such importance that content is negligible. This is a new idea. Imagine Jackson Pollock working in the studio of Riphael! As artists in this age After Raphael and ata) After Pollock, we are blessed on at least two counts; one, that we do not have to paint according to someone else’s rule, and two, that someone else splattered and dripped introducing the idea of action over rules so that we may once more pick up the brush. As possessive as we are of our individualism, we cannot deny our influences. We pick our favorites; those who have attracted us, revealed something or refreshed our vision. Something Of theirs, a stroke, a method, a form is bound to seep into our own work, or we may purposefully "borrow". A bit here, a bit there, all of.it modified by schooling which lends a regional influence. The Art taught (and painted) in California has a flavor different from that of the Mid-West or Italy. Chains of Philadelphia painters are evident, and why not? The greater part of the Art School experience occurs within the studio where each is working at a singular effort while breathing the same air as the others. “ Back in the 15th Century or so. everyone in the room might be working on the same painting. The Master would have had the conception and made the initial sketch. With all those people available, each one might have a chance to pose for details. The Master would refine

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the drawing, and in some cases not touch the piece again except for finishing. The original sketch might be small in scale as compared with the finished piece whicfl could be as large as a wall or ceiling. An artist of the studio would then enlarge the drawing to scale, all details preserved. This drawing or

"cartoon" would be perforated along all lines so that charcoal dust could be pounced through, thus transfering the drawing. The painting, having five or more definite stages of development might be worked on by several people until given the final "master strokes." Further hands would be given the task of varnishing, etc. This formal procedure channeled much human energy into the production of a quality piece which aimed at unity and as much

artists were apprenticed to studios and were familiar with production methods and personal discipline. Since that time, me development of skill has given way to personal freedom and so there is much honest but clumsy G inting about. As we come more comfortable with this shift of emphasis perhaps we will learn to assimilate the two.

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