painting
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“You are a light. You are the light. Never let anyone — any person or any force — dampen, dim or diminish your light … Release the need to hate, to harbor division, and the enticement of revenge. Release all bitterness. Hold only love, only peace in your heart, knowing that the battle of good to overcome evil is already won.” — John Lewis
John Lewis
2020
Watercolor on paper
12 x 9 in
Price: Not for Sale
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Bischoff, who in 1976 told Paul Karlstrom: “I’m still supporting myself by teaching,” had only two one man shows before his first New York show at Staempfli Gallery in 1960, including a 1955 show at the Paul Kantor Gallery in Los Angeles from which nothing sold. In contrast, leading artists in New York benefitted from a booming art market. For example, Willem de Kooning’s 1959 New York show sold out on the first day, bringing in about $150,000 (about $1.2 million dollars today, when adjusted for inflation).
Of course, de Kooning was a sensation, but many other New York artists sold well while California artists struggled. In this situation, decently paying teaching jobs were a rare and precious commodity. When it was rumored in 1955 that David Park had been offered $10,000 per year to teach at UC Berkeley, artist Nathan Oliveira – who at the time was earning $2.50 per hour teaching art 18 hours per week – thought that Park had been given “the opportunity of a lifetime.” As it turns out, Park’s actual starting annual salary was $5,300.00.
Elmer Bischoff
Orange Sweater
1955
Oil on canvas
48 ½ in. x 57 in.
SFMoMA collections
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Many artists do start with realism because it helps build foundational skills like observation, proportion, and technique. Over time, some move toward abstraction as they become more interested in expressing ideas, emotions, or experimenting with form and color beyond literal representation.
However, not all artists follow this trajectory. Some dive straight into abstraction, while others stick with realism their entire lives. It really depends on the artist’s interests, influences, and creative journey.
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“Unlike the artists behind many of Shaw’s thrift-store paintings, the “bad painters” of art history were often technically skilled. They made a conscious decision to ignore the standards of good taste and good style, which wasn’t always intuitive.”
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“What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.”
Marlene Dumas (b. 1953)
The White Disease
signed, titled and dated ‘The White disease Marlene Dumas 1985’ (on the reverse)
oil on canvas
51 3/8 x 43½ in. (130.5 x 110.5 cm.)
Painted in 1985.
Price realised
USD 998,500
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“I write about my own work because I want to speak for myself. I might not be the only authority, nor the best authority, but I want to participate in the writing of my own history. Why should artists be validated by outside authorities. I don’t like being paternalised and colonised by every Tom, Dick or Harry that comes along (male or female).”
— Marlene Dumas
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Why learning art history is important for artists
Artists should study art history for several reasons:
- Inspiration and Influence – Understanding past movements, styles, and artists can provide fresh ideas and insights that influence an artist’s own work.
- Technical and Conceptual Growth – Studying historical techniques, materials, and methods helps artists refine their own practice and expand their creative approach.
- Context and Meaning – Art is often a response to cultural, political, and social issues. Knowing the historical context of art allows artists to create work with deeper meaning and relevance.
- Avoiding Reinventing the Wheel – By learning from past successes and mistakes, artists can build upon existing knowledge rather than repeating what has already been done.
- Developing a Critical Eye – Exposure to a variety of styles and critiques sharpens an artist’s ability to analyze and evaluate art, including their own.
- Building a Personal Voice – Studying different artistic movements helps artists understand where they fit within the larger artistic tradition, allowing them to develop a unique style.
- Professional and Academic Opportunities – Knowledge of art history can open doors in teaching, curation, and other art-related careers beyond personal practice.
- Cultural Literacy – Understanding art history enriches an artist’s appreciation of global cultures and traditions, making their work more informed and impactful.
Ultimately, art history provides artists with a foundation of knowledge that can fuel creativity, enhance technique, and deepen the meaning of their work.
By ChatGPT
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If words didn’t matter, then why do artists give their work titles?
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The phrase “Let art speak for itself” likely emerged from the broader philosophy that art should be experienced and interpreted directly by viewers, without requiring excessive explanation or commentary. It aligns with ideas from movements like Romanticism and Modernism, which emphasized the emotional, personal, or universal power of art.
Key Contexts for the Phrase:
1. Romanticism (18th-19th Century):
Romantic artists and thinkers believed in the innate ability of art to evoke emotions and connect directly to the human spirit, minimizing the need for verbal justification.
2. Modernism (late 19th-20th Century):
Modernist artists often rejected traditional rules and advocated for the autonomy of art. They believed that art could stand on its own without the constraints of narrative or explanation.
3. Art Criticism and Philosophy:
Thinkers like John Ruskin and Clement Greenberg contributed to the idea that art should be appreciated for its intrinsic qualities—form, texture, color—without relying heavily on external context.
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On My Mind: The importance of words
There is of course a
difference between words in the artist’s mind and words of critique or
review. The artist’s words are words of intent, of defining the vision
or painting’s aim, and may be silent, or private. The critic’s words are
to conjure the achieved effect of the artist as the critic sees it. I
think trying to define what and why you are painting is important. These
words can enrich the way in which you put paint down, they can
determine what you choose to eliminate or emphasize. In itself a title
to a painting is already a lead-in both for you the artist and for your
viewer. I was recently looking at work of Korean painter whose work is
entirely abstract, a color field. His titles pertain to Korean pottery
referencing celadon and antique glazes. No question that expands one’s
appreciation/viewing.—Anonymous
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“You really need faith in yourself to make art and to stand up for what you believe in.”
Elizabeth Peyton (b. 1965)
Annette Greenwich St.
signed with the artist’s initials, titled and dated ‘Annette Greenwich St. EP 2004’ (on the reverse)
oil on panel
14 x 11 in. (35.5 x 27.9 cm.)
Painted in 2004.
Price realised
USD 365,000
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“Painting is self-discovery. Every good artist paints what he is.”
Jackson Pollock
Number 28, 1949
signed and dated ‘Jackson Pollock 49’ (lower left)
enamel on canvas mounted on Masonite
12 7/8 x 13 in. (32.5 x 33 cm.)
Painted in 1949.
Price realised
USD 6,705,000
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“Painting is a means of translating what is intangible into something that can be grasped visually.”
Elmer Nelson Bischoff (American, 1916-1991)
Girls, Ocean, Mirror
signed, titled and dated ‘Elmer Bischoff/ Girls, Ocean, Mirror/ 10/61’ (on the reverse)
oil on canvas
53 ¾ x 72 in. (136.5 x 182.9 cm.)
Price realised
USD 100,000