1 result for (book:tps3 AND heading:"delet session august 6 1975" AND stemmed:art)
[... 15 paragraphs ...]
Ruburt has been trying to be economical in terms of money, energy and time. He differed from you only in that he carried your own ideas and his further in certain respects. In others, financially for example, he broke away first and you followed. The idea of the spare, poor young artist or writer, living romantically in a garret or poor apartment, has served as a handy self-image for many in their early years, providing a sense of dignity that enabled such apprentices to make their way. You chose the circumstances. You purposely chose a time involved in which writers and artists had it “hard”—so you cannot turn around then and blame the society. You each wanted to be apart from it to some extent. You (RFB) proved to yourself that your art could support you when you were young. You made good money. Then you immediately disentangled your abilities from economics in a particular fashion. You used your dexterity in “artistic” ways in your jobs—but the bulk of your artistic yearnings were divorced completely from the world at large. Ruburt did not know that his abilities could ever bring him money.
When you worked in an art department, even though you knew you were doing “commercial work,” society referred to you as an artist. You had a certain prestige. When Ruburt needed jobs he worked in a factory, or he was a sales clerk or a door-to-door sales person—jobs he felt that gave him no prestige. He was afraid, however, of such jobs—prestigious ones—for fear the need for money would lead him to neglect his work. He became more economical.
[... 4 paragraphs ...]
You have your existence now as yourself. Nebene has his existence in his own now as himself, and there are many others. Joseph in Seven is a representation of another portion of your being that is connected with Bill Macdonnel. Your “purpose” is to bring those diverse aspects together, to form them into your own kind of artistic production—to wed in your life and art those seemingly diverse qualities of spontaneity and order, spareness and abundance, beloved detail and wholeness, and to form in your life and art a new kind of synthesis.
[... 3 paragraphs ...]
Most of this is out in the open, but you did not understand the connections that existed between your ideas about the dryer and food and frames, and how they applied to your mental and physical habits. Your art is set off by your frames—so you deny your paintings their natural setting.
[... 11 paragraphs ...]
When a masterpiece is created everything else is forgotten, and so it is with life situations. It is silly in painting to say “Why did I at first choose that color, which did not work, instead of the final completed hue?” You have in art underpainting. In life you work with many “underpaintings” at once—and while it may seem at any given level that one underpainting lacks or is weak, later it will be seen as an important part of the whole.
[... 5 paragraphs ...]