Another Kind of Beauty

I have been thinking about all kinds of beauty recently because I have just finished the most delightful book, "Wesley the Owl". It is not about art. It is the story of a young biologist, Stacey O'Brien working at Caltech who adopts a four-day-old owlet, a barn owl, who cannot be released into the wild. The next nearly two decades of her life are totally entwined with his.

Not only is a wonderfully moving account of this highly intelligent, fascinating creature, but it is also very much a book written by an observant, thoughtful scientist. The beauty of this barn owl's appearance, the beauty of the relationship with Stacey and the elegance too of scientific rigour and observations - all these are other facets of beauty that delight the senses and enrich a reader of this book.

Barn Owl

Somehow the magic of such creatures, as we learn more about their marvellous attributes, feeds into making art and celebrating life in different creative ventures. Perhaps it is all about being passionate about life in general. Certainly "Wesley the Owl" is one of those books that helps make life sparkle. Do yourself a favour and read it if you have not already done so.

Art and Beauty

Beauty - in all the arts - is part and parcel of the creative endeavour, to some, but not to everyone. For ages, in the United States, it seemed that the concept of beauty had become almost effete, out of favour, something to be ignored, denied or ridiculed, in many circles. Then, of course, there has been a reaction, and the word "beauty" seems to have crept back into artistic vocabularies. Especially into vocabularies about the visual arts. Perhaps in our rather dismal, complicated times, we all need something to uplift and cheer us, something bigger and more noble than our mundane daily lives, something that gives pleasure to our senses.

It has always seemed to me that beauty is something almost magical, because so often, it catches one unawares, stops one in one's tracks, and blows the whole world wide open into wonderful new dimensions. It can be anything - a painting, a drawing, music, sculpture, a bird song, scenery, light falling onto something, cloud formations... But instinctively one knows that one is registering something special and uplifting - the day becomes better and often more serene, even for a moment. I am sure that there are wonderful analyses of the brain lighting up in its different parts as a person registers some form of beauty; ironically the more illustrations I see of brain functions, the more beautiful I find them to be as well!

As an artist, it is always demanding, humbling and fascinating to try and convey, on paper or canvas for instance. something which one has found to be beautiful. So seldom does one ever succeed in doing the subject justice. But an artist is impelled to try. Since I am also aware that every person who looks at the art one has produced is bringing to the equation his or her own life experience and therefore form of perception, the melding of my endeavours and that person's "eye"can help (or hinder!) in the rendering of beauty.

Ansel Adams was truly correct when he observed, "Art is both the taking and giving of beauty". It is an important dialogue to have, an exchange that can be priceless.

Ansel Adams with his Camera

Jeffrey Pine, Ansel Adams photographer (Image courtesy of anseladams.com

Defining Drawing

September is the renewal of life drawing sessions for my group after summer. It is good to be drawing again, reminding of the need to observe closely, to trust one's eye and – just go with it! What I also noticed afresh is how differently each artist draws, both physically as well as stylistically.

The body movements, the gestures, that each artist makes as he or she draws are individualistic. Some stand at an easel, making huge, sweeping motions as they make the marks on the canvas or paper, almost like a violin player with a lively bow. Others sit and barely move their arms. The resemblance to dance movements is often remarkable. No wonder artists have always felt a close kinship to dancers. Add in music and the resemblance between mark-making and dance becomes clearer.

In a way, the definition of drawing becomes more murky when you see such artists working. Are they drawing in the air or on a solid surface? Things get even more complex if you consider that today, drawing does not have to be contingent on pencil and paper, or any other traditional mark-making combination. Film/video, digital routes, even three-dimensional means to break up space, within a defined area - all are used to lay out an image. Lines can be made with so many means - from tape, to beads, to tools, to thread, to stylii, even cell phones.

This drawing, for instance, was done with silverpoint, graphite, watercolour and silk thread. I called it "Symphony in Blue".

Symphony in Blue, silverpoint, graphite, watercolour and silk thread, Jeannine Cook artist

The traditional definition of drawing, since the early 14th century, is pretty straightforward: "a graphic representation, by lines, of an object or idea, as with a pencil; a delineation of form without reference to colour - a sketch, plan or design, especially made with pen, pencil or crayon" is one dictionary definition, very much echoing others. But now, as I have said, all bets are off.

One exhibition which should be very interesting to see in this regard is coming up at MOMA, New York, from November 21st onwards. On Line: Drawing through the Twentieth Century is apparently a wide-ranging examination of different approaches to drawing done by many artists from different lands. It should be very thought-provoking for anyone who loves drawing.

Plein air painting large scale

When the weather improved (i.e. less humidity and heat) as hurricane Earl went north far off the Georgia coast, it was the first opportunity of the summer to go outside to paint. Bliss!

I had been looking at a scene out over the marshes and water, and felt it required a full sheet of watercolour, 30 x 22 inches. That is about the maximum size I can cope with outdoors as otherwise the board and paper become a sail as soon as it is windy. Since I sit and don't use an easel, I also find that my arm needs to "lengthen" to reach the top of the painting. There is another consideration too - because of the size, the painting tends to take much longer to do. This usually means returning to the same spot several times to catch the same light conditions on different days, always a gamble with our changeable weather.

Indeed, I am now into week two of trying to complete the painting, which makes me listen carefully to weather forecasts. But as I was painting, I remembered back to the famous story about Claude Monet when he decided, in 1866, to execute a large canvas outdoors in preparation for the juried Salon. He was in a rented house in Ville D'Avray, a Parisian suburb, living with his model-mistress, Camille. Since he chose to paint this huge canvas, over 8 ft. high by nearly 7 ft wide (2.55 x2.05 metres), he dug a deep trench into which to lower the canvas so he could reach the top whilst remaining at the same vantage point. He also rigged up a pulley system to raise and lower the canvas. Monet was intent on depicting light and shade, air movement and the sense of outdoors, although the ostensible subject was the four women (modelled by Camille). Femmes au Jardin or Women in the Garden was a huge undertaking; apparently Monet was rigorous about being faithful to the light, even to the point that he refused to paint the leaves on the trees if the light was "wrong".

Claude Monet (1840-1926),Femmes au jardin, Vers 1866,Huile sur toile H. 255 ; L. 205 cm (Image courtesy of  Musée d'Orsay, Paris)

His friend, the journalist/writer, Emile Zola, was witness to this herculean effort and remarked that Money had a "very exacting eye for contemporary life". The final irony of this whole effort was that Femmes au Jardin was refused by the Salon. However, in 1921, Monet had the satisfaction of seeing it acquired by the French Government for a goodly price (and it is now on view at the Muséed'Orsay). So much for his most ambitious plein air painting venture.

At least I am not into trenches and pulley for my latest painting! But I still need to get on and finish it before the scene changes completely with autumn coming.

Art and Music

I think that every artist is very aware of how necessary music is to his or creativity. Listening to music, classical, jazz or anything else, can help get the juices flowing, inspire and mesh with painting, drawing or any other creative activity. Most life drawing groups, for instance, that I have ever been part of have music playing in the background as a helpful adjunct to the drawing process.

It was thus with no surprise but considerable fascination that I read recently in the August 14th, 2010 edition of Science News about the latest research about "A Mind for Music", an entire section devoted to music, its effects on the human brain and thus its role in societies. One of the most interesting aspects was how far back our connections with music have been tangibly shown to reach. Vulture bone flutes, dating from 35,000-40,000 years ago, have been found in the famous HohleFels cave, near Ulm, Germany.

35,000 year old bone flutes from Hohle Fels

Nine thousand years ago, wing bones from red-crowned cranes in Jiahu, China, were fashioned into flutes with five to eight finger holes. Five thousand years ago, harps were played in ancient Mesopotamia. Before all these instruments, there were most probably percussive stones, bones or sticks being played. How many of the early musical sounds were inspired by nature is of course open to speculation, but it puts me in mind of Lord Byron's verse: "There's music in the in the sighing of a reed;/There's music in the gushing of a rill;/ There's music in all things, if men had ears:/ Their earth is but an echo of the spheres."

The noted neuroscientist, Daniel J. Levitin, who is a specialist in matters neuro-musical as well as being a consultant in the music industry, once remarked, " Music may be the activity that prepared our pre-human ancestors for speech communication and for the very cognitive representational flexibility necessary to become human." Since we now know that almost all the areas of the brain are affected in some fashion when we listen to music, his theory makes eminent sense. It is also interesting that visual art also shows up so early in the early records of human beings, as another form of communication and celebration of life. (See my earlier blog about evidence of art-making 164,000 years ago.) Vital roots that enrich us all today, so many thousands of years later.

There are countless examples of artists who weave music into their creative lives - not only in paintings and drawing, but in videos, installation art, and beyond. One interesting example of the role of music in art is Edgar Degas: his paintings and drawings not only address the playing of music but the movement of dancers to music and opera scenes. He apparently was friends with many of his contemporary French composers and musicians, and had had a musical childhood with family members singing and playing the organ. The close links between his art and music were explored in an 2009 exhibition, Degas and Music, at the Hyde Collection in New York's Lake George region. A good description of the exhibition and Degas' deep love for music which ran through all his art can be gleaned from David Brickman's blog. It makes one regret not having seen the exhibition.

Other artists use the music itself as inspiration for art. Paul Klee and Kandinsky come readily to mind, but many of the early 20th century artists turned to jazz and other current forms of music to act as a springboard to art creation - Gino Severini in Italy, August Mackeand fellow German Abstract Expressionist Franz Marc, and Russian KazimirMalevich.

I find myself sometimes moved to create a piece inspired by music. This silverpoint, Spem in Allium, is inspired by Thomas Tallis' music of the same name.

Spem in Allium, silverpoint and acrylic, Jeannine Cook artist. Private collection

We are all heirs of those early flute and harp players who knew that "music is the poetry of the air", as Jean Paul Richter observed some two centuries ago.

Botanical Art

Botanical art is enjoying a great resurgence in popularity and appreciation. The British, Australians and some Europeans had continued always to favour this form of art, partly, perhaps, because of the strong horticultural and plant collection/husbandry tradition. Kew Gardens and other important botanical gardens round the world had kept alive the tradition of fine art married to botany. However, with the founding of the American Society of Botanical Artists in 1995, this art form took off. Another decisive factor in this renaissance has been the enthusiastic and hugely influential support of Dr.Shirley Sherwood.  Not only has she collected botanical art all over the world and helped artists most generously, but she has now enabled Kew Gardens to have the world's first gallery devoted to botanical art, the Shirley Sherwood Gallery.  (I am proud to say that she owns one of my silverpoint drawings.)

Azaleas in March, silverpoint, Jeannine Cook artist, Private collection

With increasing interest in botanical art, the ASBA has been organising important exhibitions around the United States. The Society, to which I have belonged for many years, has become more and more imaginative in exhibit themes and attuned to today's environmental concerns. A show which has just opened at the Smithsonian National Museum of Natural History in Washington, DC, demonstrates this: "Losing Paradise? Endangered Plants Here and Around the World" shows art done by forty-one artists from the five continents. The exhibit has already travelled to the Missouri Botanic Garden, the Chicago Botanic Garden and the New York Botanical Garden.

Using the simplest of media - graphite pencils, pen and ink, coloured pencils and paint - the artists not only captured the essence of the plant but they document its structure, habit of growth, colouration and general characteristics in exquisite, accurate detail. Again, as with so many works of art done from real life, as opposed to photographs, each artist creates an individualistic interpretation of the subject matter, combining artistic skill with the energy and passion inspired by that plant. In the case of this particular exhibition, there was an additional energy. The Society posted the call for this exhibition about three years previously, so that artists all around the world could seek out endangered plants and help draw attention to their plight by the art created. What more enlightened role could art play!

The Magic of Art

Ever since man has been creating art, and especially for the last 30,000 odd years, magic and art are closely linked. Perhaps Marcel Proust said it best, when he wrote in Time Regained, "Through art alone are we able to emerge from ourselves, to know what another person sees of a universe which is not the same as our own and of which, without art, the landscape would remain as unknown to us as those that may exist on the moon. Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, still send us their own individual special radiance."

You only have to leaf through any art magazine or go online to any gallery website to see how accurate Proust was about the multiplicity of optics and voices displayed in art. Magically we are transported to other lands and other ways of life. We see faces familiar and unfamiliar, fantasy upon fantasy, different approaches to objects that we have never thought about before. A visit to a major museum proves Proust's point about the longevity of great art down the ages. The masters know how to combine passion, subject matter, composition, colour, technique and the elusive wave of their "magic wand" to create art that withstands the test of time.

Ellen Lanyon, an American artist noted for her wonderful juxtapositions of fantasy and reality, calls upon this element of magic in her art. Using nature, everyday objects and intertwining living creatures and technology, she advocates for ecological balance. Her approach is joyous. As she says, "I become the magician who can transform flowers into fire, create the animals out of the inanimate, and utilise osmosis and gravity to create an illusion. Artists have the powerful tool of the imagination to make everything happen."

Niagara,  lithograph, Ellen Lanyon, (Image courtesy of the artist)

The Persistence of invention, acrylic on canvas, Elle Lanyon  (Image courtesy of DePaul Museum and the artist)

Eagle Beak, Ellen Lanyon, 1985. Lithograph, 44 ½ x 30 ¼ inches. Collection of the Madison Museum of Contemporary Art.

Call it imagination, call it magic, but so many artists spring to mind when one thinks about how art forces us to see other universes. Surrealist Salvador Dali is perhaps an extreme example, but Robert Rauschenberg, Mark Rothko or draughtswomen working today like Sky Pape or Carol Prusa all have shown me fascinating, magical worlds I had never conceived of. And those are but a small number of artists that come readily to mind - we can all make up our own list of magician artists.

Art and Immigration

As an immigrant first to Europe and then to the United States, I cannot help but feel sympathy and empathy for immigrants, be they forced or voluntary. Uprooting yourself from your home surroundings takes courage, energy and faith in the future. I have, however, also realised that I am fortunate to have become a de facto citizen of the world, just as my mother and grandmother did before me, on different continents.  That state makes life infinitely more interesting.

Klotho Series 3 - Ethel Patricia Wright (my mother) - Yokohama earthquake to Africa,  silverpoint, Jeannine Cook artist

African Memories II - silverpoint-watercolour-foil, Jeannine Cook artist

As an artist, it also makes for complex influences that, willy nilly, show up in one's work. (Above, African Memories II). I think back to an interesting statement that Luisa Rabbiamade during her time as Artist in Residence at the Isabella Gardiner Museum, Boston. Talking during an interview reported in Art in America in June/July 2009, she mused, "In the past couple of years, I have been thinking about roots and the idea of carrying yourself as you travel. It is one thing to be the immigrant (to New York) and another to see others immigrating (to Italy). It gives you two points of view."

Mindful of the charged discussions swirling in the United States, all over Europe and even in places like Israel today, I feel that it is indeed true about the two points of view. But it is also true that in all the arts, cross fertilisation between cultures is enriching and stimulating. Each immigrant-artist brings to the new setting a heritage from which to draw inspiration, the sustaining roots that allow fresh growth in the adoptive surroundings. This country, for example, has seen enormous artistic diversity, thanks to immigrants. Think of John J. Audubon (from Santo Domingo), Willem deKoonig(from Holland), Arshile Gorky (from Armenia), ShirinNeshat(from Iran), CaiGuo-Qiang (from China), Louise Nevelson (from Russia) or Claes Oldenburg (from Sweden) as random examples.

Personally, I find myself drawing on my past roots as well as trying to absorb the world around me for my art. It depends on the moment, but there will suddenly be a stream that bubbles up, from some bye gone source far from today's world. That perhaps is one of the magical things about being an artist - one is free to use whatever inspiration or source seems appropriate. Just as with a tree, one's own roots are wide-spreading, branching from the primary root of one's homeland into a myriad secondary roots of other lands one grows to know. Those experiences, shared by countless millions around the world today, are valuable for the immigrants' adoptive lands. It is up to artists to give visual validation to some of these experiences.

Art's Accessibility

Back in March 2009, famed art and culture critic and enfant terrible Dave Hickey wrote a long piece in Art in America about "Addictions". In it, he said that "in the last two centuries, the opportunity to make good art and literature has continuously expanded. In response to this broadening franchise, elite cultures have striven to defend their domain by escalating the level of 'difficulty' demanded from serious art and literature. The larger the field of runners, in other words, the higher the hurdles. Two centuries of expanding opportunities confronted by an escalating standard of difficulty have led to this consequence: today, anyone can make a work of art that nobody can understand." He ended a long plaint about the opacity of many contemporary works, the suspicion that greets any efforts to explain such works, and even the dulling and homogenising effect of art school curricula with a plea to bring "the fire from wherever you find it to an art world that needs it."

František Kupka, 1912, Amorpha, fugue en deux couleurs (Fugue in Two Colors), (Image courtesy of Narodni Galerie, Prague)

Amongst the proliferating world of blogs about art and websites promoting every imaginable form and aspect of art, there is a new endeavour which brings more "fire" into the public discourse about art. Today, PBS announced the launch of a new website, PBS Arts, to diffuse to new audiences their work on visual arts, crafts, and architecture.

It seems that the more the arts are "de-funded" by government, the more Public Radio and Public Television are taking up the challenge of informing the nation about artistic endeavours, accessible or opaque in nature. Awareness of what is happening in music, visual art, theatre, poetry, literature, crafts and architecture enriches us all, even if the coverage is, inevitably, only a small proportion of what is happening nationwide. Learning about the arts of today renders them much more accessible and interesting to everyone, negating to a degree the controlling influence Hickey ascribes to the "elite". There is another aspect of this wider accessibility: seeds are sown in people's minds which lead, later, to deeper interest and knowledge about the arts in many instances. More fire in the art world.

Embankment by Rachel Whiteread. Turbine Hall, The Tate Modern, Bankside, London. 12 November 2005

Art that alludes to the Sacred

Ephraim Rubenstein, a wonderful artist and fellow silverpoint artist, has just sent me the announcement for his forthcoming solo exhibition at the George Billis Gallery on West 26th Street in New York. Entitled Temples and Cathedrals, it is a show of large-scale mixed drawing media depictions of European Gothic cathedrals and massive Greek temple ruins. It will certainly be a dramatic and impressive array of drawings.

What I found interesting were Ephraim's concepts behind this body of work. In both the pagan temples and the cathedrals, he evokes the "magisterial quality of these sacred spaces". Scale, architecture, play of light are all devices used in sacred structures to impress and convey a sense of the presence of the divine. There can be few of us who have not been silenced in awe at the sight of the mighty harmony of soaring Gothic arches or the dazzling glory of huge rose windows enclosed by lacy stone. Similarly, Greek temples, no matter how shattered by time and man's depredations, evoke the centrality and the power of the gods in man's daily life by the extraordinary elegance and drama of columns, friezes, pediments.

Selinunte I (mixed media, 38×50), Ephraim Rubenstein  (Image courtesy of Artists Network)

Cathedral VII (mixed media, 38×50), Ephraim Rubenstein, (Image courtesy of Artists Network)

By playing these very different types of structures off each other in his dramatic monochrome renderings of temples and cathedrals, Ephraim reminds us of man's perpetual quest for the sacred. As he points in his press release about the exhibition, the metamorphosis of man's religious beliefs, from paganism to Christianity, is echoed even in the stones of the different sacred structures. Many of the cathedrals were built with stones taken from earlier temples. Another form of Sic transit.

Knowing how beautiful Ephraim Rubenstein's art is, I am certain that this will be an exhibition well worth visiting if you are in Manhattan.