Furbo beach, 12 May 2017, 8:30am
"With 'a brush, the one dependable thing in a world of strife, ruin, chaos', they could return, whatever the stress and discord of daily life, to that continuously absorbing interior world in which the struggle to record observations of light, colour and form, however agonisingly difficult and intractable, resolves into an enduring happiness. Here, where the artist strives to shape, condense and order thoughts and sensations until they take on a form that communicates, is the promise of continuity as opposed to decay, of meaning as opposed to senselessness, of value as opposed to pain. Vanessa painted, not in order to forget anxiety and pain, but in order to transform them into the permanence of art." (Spalding, Frances: Vanessa Bell. Portrait of the Bloomsbury Artist, Tauris Parke, London 2016, pp.225f.)
While she experienced quite a lot of hardship and finances were not always as free-flowing as it seems, it can be tempting to yearn for the lifestyle that allowed Bell and Duncan Grant to paint all day, travel widely, with lengthy stays in France, and shut themselves off from the demands of society.
I am struggling to arrange for one week of painting (or more likely drawing) with no interruptions, but it seems almost impossible in our day and age, and I don't even have children. On Inis MeƔin recently I could picture an island stay with no technology, so who knows.
And I have to remember that I am extremely lucky with my circumstances - I can create pockets of time at home working in my studio, and more of time management is choice than I have allowed for - I can choose when to let e-mail distract me, for example.
Next on my list is another art book by another Frances, Seeing Ourselves by Frances Borzello, a book about self-portraits by women artists. My sister gave me one of her books a few years ago, and I want to read my way through all of her publications.
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