Local Painters Quotes

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

The money spent by one campus ministry to cover the costs of their Central American mission trip to repaint an orphanage would have been sufficient to hire two local painters and two new full-time teachers and purchase new uniforms for every student in the school.

Folding her arms and closing her eyes, Hatsumi sank back into the corner of the seat. Her small gold earrings caught the light as the taxi swayed. Her midnight blue dress seemed to have been made to match the darkness of the cab. Every now and then her thinly daubed, beautifully formed lips would quiver slightly as if she had caught herself on the verge of talking to herself. Watching her, I could see why Nagasawa had chosen her as his special companion. There were any number of women more beautiful than Hatsumi, and Nagasawa could have made any of them his. But Hatsumi had some quality that could send a tremor through your heart. It was nothing forceful. The power she exerted was a subtle thing, but it called forth deep resonances. I watched her all the way to Shibuya, and wondered, without ever finding an answer, what this emotional reverberation that I was feeling could be. It finally hit me some dozen or so years later. I had come to Santa Fe to interview a painter and was sitting in a local pizza parlor, drinking beer and eating pizza and watching a miraculously beautiful sunset. Everything was soaked in brilliant red—my hand, the plate, the table, the world—as if some special kind of fruit juice had splashed down on everything. In the midst of this overwhelming sunset, the image of Hatsumi flashed into my mind, and in that moment I understood what that tremor of the heart had been. It was a kind of childhood longing that had always remained—and would forever remain—unfulfilled. I had forgotten the existence of such innocent, all-but-seared-in longing: forgotten for years to remember what such feelings had ever existed inside of me. What Hatsumi had stirred in me was a part of my very self that had long lain dormant. And when the realization struck me, it aroused such sorrow I almost burst into tears. She had been an absolutely special woman. Someone should have done something—anything—to save her. But neither Nagasawa nor I could have managed that. As so many of those I knew had done, Hatsumi reached a certain stage in her life and decided—almost on the spur of the moment—to end it. Two years after Nagasawa left for Germany, she married, and two years after that she slashed her wrists with a razor blade. It was Nagasawa, of course, who told me what had happened. His letter from Bonn said this: “Hatsumi’s death has extinguished something. This is unbearably sad and painful, even to me.” I ripped his letter to shreds and threw it away. I never wrote to him again.

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

also think there’s nothing wrong with enjoying the materialistic side effects of the celebration. Bring on the chocolates and flowers, and throw in a gift card to the local bookstore while you’re at it.

And if I am not mistaken here is the secret of the greatness that was Spain. In Spain it is men that are the poems, the pictures and the buildings. Men are its philosophies. They lived, these Spaniards of the Golden Age; they felt and did; they did not think. Life was what they sought and found, life in its turmoil, its fervour and its variety. Passion was the seed that brought them forth and passion was the flower they bore. But passion alone cannot give rise to a great art. In the arts the Spaniards invented nothing. They did little in any of those they practised, but give a local colour to a virtuosity they borrowed from abroad. Their literature, as I have ventured to remark, was not of the highest rank; they were taught to paint by foreign masters, but, inapt pupils, gave birth to one painter only of the very first class; they owed their architecture to the Moors, the French and the Italians, and the works themselves produced were best when they departed least from their patterns. Their preeminence was great, but it lay in another direction: it was a preeminence of character. In this I think they have been surpassed by none and equalled only by the ancient Romans. It looks as though all the energy, all the originality, of this vigorous race had been disposed to one end and one end only, the creation of man. It is not in art that they excelled, they excelled in what is greater than art--in man. But it is thought that has the last word.

There was once a painter who traveled into the cordillera in order to paint an invisible picture of Christ. When he finished, the local Indians scrambled up the rocks to examine it and found that it was, in fact, a picture of Viracocha. A Chinaman passing by went up to see what it was that was causing such excitement and found to his surprise that on the rock was a picture of the Buddha. The painter stuck to his assertion that it was Christ who was invisibly portrayed, and a loud and rancorous argument developed. In the midst of the altercation one of the Indians noticed that the portrait had erased itself. The truth is that the mountains are a place where you can find whatever you want just by looking, as long as you remember that they do not suffer fools gladly and particularly dislike those with preconceived ideas.

Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’ The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow. The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole. Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the far end, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap. That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself. I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time.

The Venetians catalogue everything, including themselves. ‘These grapes are brown,’ I complain to the young vegetable-dealer in Santa Maria Formosa. ‘What is wrong with that ? I am brown,’ he replies. ‘I am the housemaid of the painter Vedova,’ says a maid, answering the telephone. ‘I am a Jew,’ begins a cross-eyed stranger who is next in line in a bookshop. ‘Would you care to see the synagogue?’ Almost any Venetian, even a child, will abandon whatever he is doing in order to show you something. They do not merely give directions; they lead, or in some cases follow, to make sure you are still on the right way. Their great fear is that you will miss an artistic or ‘typical’ sight. A sacristan, who has already been tipped, will not let you leave until you have seen the last Palma Giovane. The ‘pope’ of the Chiesa dei Greci calls up to his housekeeper to throw his black hat out the window and settles it firmly on his broad brow so that he can lead us personally to the Archaeological Museum in the Piazza San Marco; he is afraid that, if he does not see to it, we shall miss the Greek statuary there. This is Venetian courtesy. Foreigners who have lived here a long time dismiss it with observation : ‘They have nothing else to do.’ But idleness here is alert, on the qui vive for the opportunity of sightseeing; nothing delights a born Venetian so much as a free gondola ride. When the funeral gondola, a great black-and-gold ornate hearse, draws up beside a fondamenta, it is an occasion for aesthetic pleasure. My neighbourhood was especially favoured this way, because across the campo was the Old Men’s Home. Everyone has noticed the Venetian taste in shop displays, which extends down to the poorest bargeman, who cuts his watermelons in half and shows them, pale pink, with green rims against the green side-canal, in which a pink palace with oleanders is reflected. Che bello, che magnifici, che luce, che colore! - they are all professori delle Belle Arti. And throughout the Veneto, in the old Venetian possessions, this internal tourism, this expertise, is rife. In Bassano, at the Civic Museum, I took the Mayor for the local art-critic until he interupted his discourse on the jewel-tones (‘like Murano glass’) in the Bassani pastorals to look at his watch and cry out: ‘My citizens are calling me.’ Near by, in a Paladian villa, a Venetian lasy suspired, ‘Ah, bellissima,’ on being shown a hearthstool in the shape of a life-size stuffed leather pig. Harry’s bar has a drink called a Tiziano, made of grapefruit juice and champagne and coloured pink with grenadine or bitters. ‘You ought to have a Tintoretto,’ someone remonstrated, and the proprietor regretted that he had not yet invented that drink, but he had a Bellini and a Giorgione. When the Venetians stroll out in the evening, they do not avoid the Piazza San Marco, where the tourists are, as Romans do with Doney’s on the Via Veneto. The Venetians go to look at the tourists, and the tourists look back at them. It is all for the ear and eye, this city, but primarily for the eye. Built on water, it is an endless succession of reflections and echoes, a mirroring. Contrary to popular belief, there are no back canals where tourist will not meet himself, with a camera, in the person of the another tourist crossing the little bridge. And no word can be spoken in this city that is not an echo of something said before. ‘Mais c’est aussi cher que Paris!’ exclaims a Frenchman in a restaurant, unaware that he repeats Montaigne. The complaint against foreigners, voiced by a foreigner, chimes querulously through the ages, in unison with the medieval monk who found St. Mark’s Square filled with ‘Turks, Libyans, Parthians, and other monsters of the sea’. Today it is the Germans we complain of, and no doubt they complain of the Americans, in the same words.

The inhabitants of all those worlds are trapped in little bubbles where nothing they do can have more than a local effect. Naturally these societies degenerate into savagery.

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Naturally wealth had a bad reputation. Two things changed. The first was the rule of law. For most of the world’s history, if you did somehow accumulate a fortune, the ruler or his henchmen would find a way to steal it. But in medieval Europe something new happened. A new class of merchants and manufacturers began to collect in towns.10 Together they were able to withstand the local feudal lord.

Starting in the tenth and eleventh centuries, petty nobles and former serfs banded together in towns that gradually became powerful enough to ignore the local feudal lords.10 Like serfs, the middle class made a living largely by creating wealth. (In port cities like Genoa and Pisa, they also engaged in piracy.) But unlike serfs they had an incentive to create a lot of it. Any wealth a serf created belonged to his master. There was not much point in making more than you could hide. Whereas the independence of the townsmen allowed them to keep whatever wealth they created.

Traditionally, Apollo and the nine goddesses known as the Muses make their home on the mountain in Greece called Parnassus. Believed to inspire creativity, they are Calliope (epic poetry), Clio (history), Euterpe (lyric poetry), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry), Polyhymnia (sacred poetry), and Urania (astronomy). Exclusively deities of performance, their blessing was solicited before any play or public recitation. (There were no Muses for sculptors, painters, and architects, regarded in Attic Greece as mere workmen, too lowly for divine patronage.) During the eighteenth century, students from the religious schools of the Latin Quarter, panting up this hill at the southern limit of Paris, may have looked back at the city spreading along the banks of the Seine and thought themselves masters of the known world. Through the haze of wine purchased from the locals, this unpromising landfill, formed from the rubble of urban expansion and fertilized by the corpses of the nameless dead, could have felt like their own Parnassus, an illusion they celebrated by reciting or improvising verse. Still then nameless, the hill first appeared on a map, the Lutetia Parisiorum vulgo of Johannes Janssonius, in 1657, which identified the track leading to its summit as the Chemin d’Enfer: the Road to Hell. The district looked doomed to remain a wasteland until, in 1667, Louis XIV chose to build an observatory there. (Charles II of England, envious, immediately commissioned his own for Greenwich.) Sometime during the next fifty years, it became officially Montparnasse, since in 1725 the city annexed it under that name. A road was laid along the ridge. Tunneling below the unstable topsoil, quarrymen mined the fine-grained limestone from which a greater Paris would be built, and where soon the Muses, though far from home, would again be heard.

Having been a Ship’s Captain, a Naval Officer a Mathematics & Science Teacher, most people would believe that my primary interests would be directed towards the sciences. On the other hand, those that know me to be an author interested in history, may believe me to be interested in the arts. University degrees usually fall into the general category of Art or Science. It’s as if we have to pick sides and back one or the other team…. With my degree in Marine Science I am often divided and pigeon holed into this specific discipline or area of interest. One way or the other, this holds true for most of us but is this really true for any of us. As a father I can certainly do other things. Being a navigator doesn’t preclude me from driving a car. Hopefully this article does more than just introduce Cuban Art and in addition gives us all good reason to be accepted as more than a “Johnny One Note.“ My quote that “History is not owned solely by historians. It is a part of everyone’s heritage” hopefully opens doors allowing that we be defined as a sum of all our parts, not just a solitary or prominent one. As it happens, I believe that “Just as science feeds our intellect, art feeds our soul.” For the years that Cuba was under Spanish rule, the island was a direct reflection of Spanish culture. Cuba was thought of as an extension of Spain's empire in the Americas, with Havana and Santiago de Cuba being as Spanish as any city in Spain. Although the early Renaissance concentrated on the arts of Ancient Greece and Rome, it spread to Spain during the 15th and 16th centuries. The new interest in literature and art that Europe experienced quickly spread to Cuba in the years following the colonization of the island. Following their counterparts in Europe, Cuban Professionals, Government Administrators and Merchants demonstrated an interest in supporting the arts. In the 16th century painters and sculptors from Spain painted and decorated the Catholic churches and public buildings in Cuba and by the mid-18th century locally born artists continued this work. During the early part of the 20th century Cuban artists such as Salvador Dali, Joan Miró and Pablo Picasso introduced modern classicism and surrealism to Europe. Cuban artist Wilfred Lam can be credited for bringing this artistic style to Cuba. Another Cuban born painter of that era, Federico Beltran Masses, known to be a master of colorization as well as a painter of seductive images of women, sometimes made obvious artistic references to the tropical settings of his childhood. As Cuban art evolved it encompassed the cultural blend of African, European and American features, thereby producing its own unique character. One of the best known works of Cuban art, of this period, is La Gitana Tropical, painted in 1929, by Víctor Manuel. After the 1959 Cuban Revolution, during the early 1960’s, government agencies such as the Commission of Revolutionary Orientation had posters produced for propaganda purposes. Although many of them showed Soviet design features, some still contained hints of the earlier Cuban style for more colorful designs. Towards the end of the 1960’s, a new Cuban art style came into its own. A generation of artists including Félix Beltran, Raul Martinez, Rene Mederos and Alfredo Rostgaard created vibrantly powerful and intense works which remained distinctively Cuban. Though still commissioned by the State to produce propaganda posters, these artists were accepted on the world stage for their individualistic artistic flair and graphic design. After bringing the various and distinct symbols of the island into their work, present day Cuban artists presented their work at the Volumen Uno Exhibit in Havana. Some of these artists were Jose Bedia, Juan Francisco Elso, Lucy Lippard, Ana Mendieta and Tomas Sanchezare. Their intention was to make a nationalistic statement as to who they were without being concerned over the possibility of government rep

It is unclear where and with whom Vermeer was apprenticed as a painter. Speculation that Carel Fabritius may have been his teacher is based upon a controversial interpretation of a text written in 1668 by the printer Arnold Bon. Art historians have found no hard evidence to support this. The local authority, Leonaert Bramer, acted as a friend but their style of painting is rather different. Liedtke suggests Vermeer taught himself, using information from one of his father’s connections. Some scholars think Vermeer was trained under the Catholic painter Abraham Bloemaert.

The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late.

The Last Supper hung on the wall to the right of my throne, the usual seat at my dining table. The painting bearing the signature of a local painter of Italian origin, from whom I had purchased it, showed signs of hemorrhage. An eavesdropper to my tantrums, the high decibels of emotion-packed deliveries assailed the ears of Jesus Christ and his disciples, forcing their auditory organs to bleed.

Three local spirit scribes settled on tall stools to sing songs that, best I can tell, the spirits never noticed. (I approve of the job nonetheless. Anything to gainfully employ more musicians. It’s not that we’re unable to do anything else; it’s more that if you don’t find something productive for us to do, we’ll generally start asking questions like, “Hey, why aren’t they worshipping me?”)