The Expressionist Portrait

                                                          ROBIN, STUDY IN BLUE

For the past year I have been painting one-sitting renderings of the live model in which the head  certainly takes central focus. Nevertheless each of these paintings is not  what I think of as being a “portrait” in the traditional sense. I gravitate to the human landscape, painted live,  as a taking-off point ––a foray into total and free experiment. And I end up painting myself as much as my subject. It becomes a dual rendering of both of us.

I aim to accomplish something  totally different with each canvas–– to transform portraiture into something that is going to surprise, hopefully, shock me.  I  do love the traditional media–oil,  acrylic, watercolor, the brush, the palette knife though.

WHAT  EXACTLY IS A PORTRAIT?

I just wish I could come up with a boffo  substitute for that staid word––“Portrait” .  My ambition is to capture  that essence  of the human condition, that resides in this person generous enough to pose for me. (Posing is very hard work.)

I  paint from life, and if I am fortunate enough to have a model, I don’t want to ruin that rush of immediacy by using a camera for reference. Especially since I try to go beyond achieving a “likeness”.  Although my subjects  usually recognize themselves, if that is important.  To my mind, a good photograph makes better sense in accomplishing a flattering, engaging portrait. And who doesn’t want to look good if it’s their “portrait”?

Luckily, I  feel off the hook on the particular dilemma of pleasing a “patron”  because  I aim for the inner essence–– that which speaks out to me, and becomes a corroboration between sitter and  painter, to create something original, and  that with luck, possesses a timeless quality.

 The model, for me, presents   an opportunity for both of us to  explore and experiment  towards new directions. To make fresh discoveries in the realm of truly expressionist  art, as opposed to copying what’s posed in front of the artist’s easel. I aim for the model’s essence in the hope that I will refresh my own mojo.

VIBES

 When I  was painting our model, “ Robin 1 ––A Study in Blue” ( At  the Forest Hill Art Club) , I felt certain vibes, which later proved to have some validity. I sensed  her Indian roots, the beat of Jazz, a strong brave resilience in the face of a difficult life. And later, when she clued me in about her background, my intuitions proved right.

I  also found a softer, vulnerable side to her character which I approached in this other painting done alternately,  in the same 4 hour sitting –– Robin 2, A Study in Raw Sienna. 

I often use a limited palette for alla prima painting and tend to paint duo studies of the same subject, following a basic credo that I apply to every painting or drawing done from life study of the model––

One-sitting only,   painted  alla prima  to capture freshness.

Vigorous, bold brush strokes. Pusillanimous dithering around doesn’t appeal to me.

No use of photography.  I know that wonderful art is being created thanks to the miracle of digital photography, but it doesn’t work for me. It stands in the way of my ultimate connection to the subject.

My ultimate goal–– Each painting should be a freewheeling experiment, taken to its own honest conclusion.  

Picasso's M.O. Jumping on that FLYING HORSE

PICASSO'S MODUS OPERANDI

 

Picasso's Modus Operandi boiled down to not having a specific way of operating. He never pinned himself down. He tried everything.

 

 

As an expressionist painter who works in many different ways, I am so very indebted to Picasso–– and I humbly acknowledge him not only as my teacher but also my mentor. Though, truth to tell, he’s not my favorite artist, and I‘ve never consciously experienced a yen to emulate any of his work.

Yet thanks to him, I feel vindicated in how I approach my work as an artist. I can give myself permission to learn from, and to follow in the artistic footprints of totally different artists. After all, if it was good enough for Picasso, then why not me.

PICASSO’S RANGE OF WORK IS AN GOING TUTORIAL

It shows you how he did it in an open-hearted attribution to everything he fell in love with along the way. He was fearless to change horses, or engines, or methods, to get where he needed to go, to be a man of many styles.


 This, for the most part, is a practice not too well accepted for most art gallery shows. The artist is supposed to find his niche and stick to it. And once he labels himself, he should be consistent and not confuse the issue.

 PICASSO BROKE ENTIRELY NEW GROUND.

And he did it over and over. I don’t feel obliged to follow suit. My duty is to myself, and how my particular art eventually speaks for itself. I’m not searching for some viable mammalian body part to pickle in a vitrine (although I am okay with that if it’s what the artist needs to do).

 Picasso’s ongoing legacy to artists is the granting of artistic permission to keep trying out new ideas––To allow one’s self to flop big in order to win big. To humbly copy present day or past Masters.

I love tracing the artistic footprints of Leonardo da Vinci. Many of my portraits are inspired by his techniques.     And   I feel equally comfortable painting my version of Edvard Munch’s “Scream”.

 PICASSO THE PERMISSION GIVER

 

At present I am working on a series of Biblically inspired paintings. But when I want to stop midstream and try something else, I have permission to break out in another direction. Picasso led the way.

                               THE FLYING HORSE             OIL/CANVAS            3' X 4'

JAPANESE ART, TSUNAMIS, EARTHQUAKES, REVOLUTIONS, & What does Art have to do with the real world?

IS ART EVEN IMPORTANT ANYMORE?  WHAT DOES IT HAVE TO DO WITH THE “REAL” WORLD?

Here we are, stuck in a twenty-first century version of Charles Dickens’ “best of times and worst of times”.  Limitless technological innovation keeps adding to our comforts while enlarging our needs.  Still, we have been rudely reminded that we humans only occupy this planet courtesy of geological permission.

The earth can open up under us at any moment. Earthquakes, tsunamis happen. The biblical flood doesn’t even seem so mythical anymore.  And then there are the human earthquakes. Revolts against oppression. Leaders hiring mercenaries to shoot against their own citizenry. This poor world is in turmoil, big time.

So where does Art fit into all this or does it?

For me, the significance of artistry––the pursuit of honest art-making––is demonstrated when videos show how the people of Japan patiently line up for a cup of soup. What beauty there is in their restraint and quiet discipline.  They do not loot. They are patient, humble.

 One cannot help but wonder what is it in their culture that has shaped them to behave in such a civilized way. I believe a large part of their cultural dignity is based in their highly refined sense of art, the sensitivity that has seeped down to the homeliest everyday need to imbibe liquid, which they have transformed by the “tea ceremony”. Everyday life comprises the art of gracious manners, consideration, subtlety in the appreciation of true beauty. The respect for that which is ancient, tried and true seems to permeate their attitude.

PRACTISING THE  “ART OF LIVING” WITH INTEGRITY

For me, the Japanese Arts of Living with artistic integrity seem to be intertwined with the elementary Art of Seeing what is put before our eyes.

All around us we are presented with awesome masterpieces of nature. Every moment offers sublime “ found” masterworks, just for the expended effort of looking.  And Seeing:

 Morning breaking. A mushroom sprouting from the earth.  The ocean. A piece of driftwood. A rock.  A tiny sea shell, honed and perfected  bringing its own message from the sea. A child’s smile. A Buttefly’s Eye.

The Butterfly's Eye    Oil/canvas

ART FOR THE FUTURE?

What I wonder, is there some kind of art form that could help shape a universal culture to unify this increasingly endangered  little  blue planet we all have to call home. What kind of art, circa 2011, could galvanize us to develop a greater, safer civilization?

If you have any ideas on what that art should be, your comments are very welcome. Love to hear from you.

 

WOULD YOU BUY THE MONA LISA?

 WOULD YOU BUY THE MONA LISA? 

EVEN IF YOU REALLY DON'T DIG IT?

 Lots of people wouldn't buy the Mona Lisa if it were painted yesterday by some unknown artist. If they could level with you (without being hooted down), they would tell you they really don't  dig it.  Does that mean they shouldn't be allowed to purchase art without taking a caretaker along? Do they need a financial adviser to sanctify their art purchase?

 

Freedom of religion is pretty well a given, these days,  so how about freedom of art choice?

 

BUYING ART AS INVESTMENT?

For the buyer, acquiring a piece of art should be a real cinch, a total pleasure. You love it. You want it. It’s within your budget. It already has an ideal future home, the perfect spot, that doesn’t clash with your décor.  It expresses who you are. It's an "Object of Beauty" in your own eyes. Isn’t that enough?

What’s the hoo-ha anyway about acquiring the right kind of art? Art should not be an investment, but a matter of the heart. From my particular,( and yes, prejudiced) perch, love is not for investment purposes. Or for making a fantastic profit in some future turnover .

GARAGE-SALE ART DISCOVERIES

THE BIG DREAM: FINDING AN UNEXPECTED 'VALUABLE' TREASURE––     

Will discovering a moldering, hideous painting at a garage sale, perhaps some famous artist’s cast-off, make you like it better?Probably not. So you might as well cash it in for the big bucks and buy whatever does something for your psyche.

To my thinking, just as much as the artist should have created the piece with conviction, so should the buyer part with his money the same way.  The buyer should be true to, and trust his own self. Or else hang up gold certificates over the sofa. (Which ultimately, might prove savvier.)

BACK TO THE WHAT IS ART, ANYWAY? DEPARTMENT

Art should and does mean different things to different people. Vive la différence.  Artists themselves have a problem getting a handle on “What Is Art”.

Speaking only for myself, I am always working towards conviction ––what is true. Not being a saint, I am not above painting towards the “art market”.  Except it wouldn’t work in my case. Honesty of expression is my gig.

MY LAST CRITERION ON WHETHER MY PAINTING IS ANY GOOD?

The painting on the easel must surprise me. I could never duplicate it again. It begins to be dear to me, another offspring, so to speak.  And I would prefer to part with it on a one to one basis with someone simpatico to me.

PayPal may be the greatest innovation for commerce, but ideally, I would rather sell my work to a real live person visiting me in my studio, or, at least, by phone contact.  If you would like to see  the paintings on www.ruthrifka.com offline (plus  other work, as yet un-photographed), I welcome you to visit me in my home studio, or discuss any painting on my website (www.ruthrifka.com),  by e-mail or by phone.

 

This painting, “Mona Lisa, Jazzed Up”  is available for purchase.

 It is a reversible diptych 40 inches high,  60 inches wide. Oil on canvas. Essentially, since the sides can be alternated, it becomes 2 paintings in one, and a conversation piece, to boot.

 

 

 

WHAT IS ART, ANYWAY?

The late great Louis Armstrong said: “If you have to ask what jazz is, you’ll never know”. Does that apply to visual art––That you either know the real article in your bones, or you don’t?

THAT IT SPEAKS TO YOU OR IT DOESN’T?

 What I find so exhilarating and life enhancing about art in all its forms is that it‘s an ongoing collaborative effort. We stand on the shoulders of past and present masters.

 WHAT AND WHO MAKES ART HAPPEN?

1. THE AUDIENCE: The person who eats the gourmet dinner, who swoons in front of a Van Gogh, who joins in thunderous applause when the curtain drops–– who goes through a life-altering Art Experience. 

2. The community of artists who share their ideas, their techniques, their “good eye” in support. 

3. The eloquence of the subject matter–– whether it's the wonders of this tiny blue planet, or the human landscape occupying it.   After the quake in Port au Prince, I was  moved by the spirituality of the Haitian people––how they lifted up their arms in prayer and were there for each other.

When I painted “Haitian Prayer” I found myself swept away by the passion of these beautiful people, awed by their humble humanity. And in the painting process, I felt myself attuned to the root of the dynamism that permeates Haitian Art.  Whatever the merits of the painting, I am grateful for that experience.      

WHICH BRINGS ME TO THE ARTIST’S JOB.

What’s that? In my opinion, the artist’s calling is to continually educate one’s self for total artistic integrity, and then to know how to let the work go where it must go. And to never, ever, ever fake it.

 IN THE END, THE GREATEST ART HAS TO BE THE ART OF LIVING: TODAY IS A WORK OF ART IN PROGRESS.

I would like to leave you with this (I wish I was the one who thought it up!) : “Each moment is a bead on the invisible wire of God’s Grace”- Kamenetz. 

Wishing you good moments,

Ruth Rifka.

FUTURE BLOGS:

*THE ART SPIRIT  IMPULSE

*EXPERIMENTAL EXPRESSIONISM

TECHNIQUE–– WITH THE GRAIN/ AGAINST THE GRAIN

*GREAT ARTISTIC THEMES

*KABBALAH AND THE ART OF EVERYTHING

*ZEN AND THE ART OF EVERYTHING

*THE ALLA PRIMA PORTRAIT

                                                               Haitian Prayer