“CONVERSATIONS: 23 Interviews with Still Life Artists” (link to the books information on the Zeuxis website) unveils a vibrant tapestry of perspectives surrounding the still life genre. This 316-page volume, produced by Zeuxis—an association founded in 1994 by Phyllis Floyd and fellow still life artists—celebrates and seeks to reinvigorate this venerable art form. Named after the ancient Greek painter famed for his lifelike depictions, Zeuxis bridges the past and present by showcasing artists who blend time-honored techniques with contemporary themes and styles, breathing new life into the tradition of still life painting.

Zeuxis has held exhibitions in over 50 nationwide venues —including commercial galleries, museums, and college exhibition spaces—and has been reviewed in The New York Times, The New York Observer, and The New York Sun, among others. Zeuxis’s traveling exhibitions, such as the widely acclaimed ‘The Common Object’ from 2010-12, have sparked considerable interest in still life art, a topic I previously explored in an article at Painting Perceptions “THE COMMON OBJECT”.”

This book presents a rich tapestry of the still life genre through 23 insightful interviews conducted from 2020 to 2023, lavishly illustrated with both large and small color reproductions from the portfolios of 60 artists. Many interviews reveal a shared stylistic or thematic affinity, providing a focused exploration of specific issues relevant to each artist’s practice. This ranges from fluid, expressive techniques to meticulously detailed realism. The visual poetics and aesthetic integrity form a solid foundation that unites all the contributors. Among the more recognized artists are Tim Kennedy, Catherine Kehoe, Elenor Ray, Ken Kewley, Emil Robinson, Daniel Dallman, and Stanley Bielen.

Many of the interviews were conducted during the pandemic, utilizing Zoom, Google Docs, and email to bridge the distance. These conversations spanned a broad spectrum of topics—from the intricacies of studio practices to the roles of observation and memory in the creative process. They also delved into how external forces like the pandemic, family responsibilities, and societal pressures have influenced their art. Particularly fascinating were the insights into what draws each artist to their chosen subjects and the pivotal decisions that guide them toward creating visually impactful work. Reading these discussions from the perspective of the painters themselves—rather than through the lens of critics or reviewers—offers a refreshing and intimate glimpse into the foundational elements of their craft, articulated in the language of paint.

Imogen Sara Smith wrote in her essay, A Writer Looks at Still Life, for this book.

“Still life has always been quietly radical, and today it offers a much-needed antidote to the haste and waste of our ‘attention economy,’ a model of sustained engagement with the overlooked stuff of life.”

The slow looking involved during the painting process and when the finished painting hangs on the wall is neurological nutrition that satiates both the painter and viewer alike.

Building on Imogen Sara Smith’s theme of ‘slow looking’, the interview Unfolding conducted by Joe Morzuch with artists Andrew Marcus and Christina Renfer Vogel further underscores the value of patience and observation in the artistic process. As Marcus and Vogel discuss their methodical approach to developing their paintings, each brushstroke and session builds cumulatively on the last, allowing the artwork to evolve organically. This gradual layering not only unveils new dimensions of meaning but also facilitates moments of unexpected clarity and profound shifts in perception. Such extended, contemplative engagement exemplifies how deep, sustained attention can transform our understanding of a subject, echoing Smith’s insight into the radical potential of still life to enrich both the creator and the observer in our fast-paced world.

Andrew Marcus, Still life Drawing No. 4, graphite on arches 300lb, 32×34 in.

Andrew Marcus is characterized by his dedication to prolonged artistic processes, often dedicating several months to a single drawing. This slow pace is a method and a medium through which he deeply engages with his subjects, allowing the composition to evolve and unfold gradually, leading to highly detailed works. He uniquely does not rely on a physical setup but uses the drawing itself as a dynamic setup, enhancing the fluidity of his work. He describes this process in the interview,

“My still lifes are not based on any set up. There is no arrangement of objects on a tabletop. The drawing paper itself is my tabletop. I use a collage technique throughout the whole process, using individual studies of objects, each cut out separately. This enables me to move them about on the paper, sometimes in dozens of different configurations and finally taping them where they will eventually be drawn on the paper.”

Christina Renfer Vogel, Houseguest, 2020, oil on canvas, 48×40 in.

Christina Renfer Vogel, in contrast, employs a more flexible approach to time, engaging in both rapid sketches and extended painting projects. Her work serves as a form of “marking time,” capturing the essence of personal life events and relationships through her art.
Vogel states

“I find working from life to be full of potential. It offers me so much discovery and surprise, and it forces me to get into a zone of focus, deep looking and slowness, that feels somewhat radical these days.”

This state of mind resembles the meditative state sought by medieval monastic scribes, who viewed their work as a reproduction and a form of devotion and contemplation.

In Unexpected Connections, the late Lynette Lombard (1953-2023) interviews Ying Li and Deborah Kirklin. These three artists share a faster, gestural, and expressionistic handling, directly painted from observation. They respond to light and space by their unique, personal orchestration of the surface, marks, and color feeling. Ying Li and Deborah Kirklin agree that color usage is deeply personal and reflects individual memories and experiences, often aiming to capture an “inner light.”

Lombard recalls what Nick Carone once said about this inner light, ‘The inner light can vary–it speaks to something within you, a certain kind of light you are attracted to. Color can be where the internal memories meet the external perceptions, and you arrive at a sense of light.’

I also loved what Ying Li says here

“Nature sets the bar so high. Complexity, chaos and the structure hidden in nature. Painting for me is about how I make sense of what I see and how I find what holds everything together”

Deborah Kirklin, Two Bouquets, oil on linen 32 x 32 in.

Ying Li, The Election Day, 2020, oil on linen, 60 x 48 in.

In the interview The Quiet Work of Looking, Gaela Erwin facilitates a conversation between Sheldon Tapley and Emil Robinson. Tapley, who taught Robinson at Centre College in Danville, KY, continues to be a significant mentor and friend to him. Many of Tapley’s still lifes, particularly his remarkable luminous gourd paintings, reflect the influence of 17th-century Spanish still-life masters Zurbarán and Cotán. Throughout the interview, Tapley and Robinson extensively discuss and contrast these painters, which leads them to explore deeper discussions about the essential elements they strive to express in their art.

Emil Robinson, Dust Pan and Yellow Curtain, 2020, oil on panel, 36 x 39 in.

Sheldon Tapley Two Gourds 2016 pastel on paper 23 x 17 in.

Tapley states,

“I also think of the transformation of subjects as an ordinary responsibility of the artist: to paint something so that it is worth a second look; so that it might be affecting and memorable. Otherwise, we could look at the object and not bother with the painting.”

Emil Robinson extends this by saying,

“I am drawn to objects which mingle with an interior experience I am having. I trust my interior experience and have built it with respect and patience over my time as a painter. I notice elements of my surroundings and invite them to embody my intangible experience. Maybe that could be called “daydreaming”. Painting is my bridge between an internal world and the external world of objects.” This might be called vision. Whatever it’s called, it’s the place where I put my effort in hoping to become a better artist. I choose objects as a temporary home—a foil of sorts. Something seemingly sturdy but only useful to me if it can open into a painted world. My studio is a place of non-utilitarian logic—I like the paradox of looking right at an object but painting something totally different.”

Emil Robinson’s still life paintings blend realism with abstraction, transforming everyday objects into conduits of a more profound significance. These objects serve not just as visual elements but also as expressions of complex emotions and internal experiences. In his studio, Robinson delves into the creative possibilities of these objects, often resulting in works that depart markedly from their original appearances. His paintings achieve a delicate balance between meticulous, illusionistic details and broad swaths of vivid color, creating a visual link between tangible reality and abstract personal experiences. Robinson uses color as more than just a visual tool; it’s a medium for conveying psychological subtleties, with his painting process reflecting an ongoing dialogue between his studio environment and the external world.

In the Painting Choices discussion, moderated by Matthew Lopas, artists Edmond Praybe, Eleanor Ray, and Joe Morzuch offer deep insights into their personal artistic journeys, each facing unique challenges and uncertainties.

Edmond Praybe, studio with composition of Remembering

Edmond Praybe speaks candidly about the periodic crises he experiences, questioning his artistic direction and the purpose of his work. He reveals how these moments of doubt are not only triggered by unsuccessful attempts but can also arise during successful phases, making them particularly perplexing and emotionally taxing. To manage these crises, Praybe engages in non-artistic activities such as hiking and reading, which help him gain perspective and remind him that individual failures do not define his overall artistic merit.

Joe Morzuch, studio with composition Milk Carton

Joe Morzuch embraces the challenges of painting as essential to his growth, viewing each piece as a conversation that evolves and surprises him.

“Painting is hard.” he declares, “That’s why I like doing it. I used to be an athlete, and continued half way through college until an injury forced me to quit. Today, I lift weights and run long distance. I think it’s about reaching for goals I set for myself, each one a bit farther than the last. And coming to things consistently, with effort. I approach painting the same way. I feel defined by the goals I’m moving towards. They give me purpose. Even if, as with painting, those goals are sometimes abstract or less than concrete. I also just like being busy.”

Eleanor Ray, Scrovegni Chapel, Padua, 2018, oil on panel, 8 ½ x 6 ½ in.

Eleanor Ray states,

“I think I’m an outlier in this group here, in not working on single paintings for so long. If a painting doesn’t work out, I’ll abandon it, and often try a few more approaches to a similar idea or image. But I’m not always deciding whether something worked right away. The painting process itself is more self-contained for me, and I don’t want it to reflect a sense of struggle exactly.”

Ray highlights the importance of painting from personal experience, which brings authenticity and emotional depth to her work. She also discusses her shift from observational painting to using photographic references, driven by a desire to capture broader landscapes and memories. Together, these painters underscore the importance of resilience and self-reflection in navigating the complexities of the creative process, emphasizing that doubt and difficulty are integral to personal and artistic development.

It’s impossible to review every one of the book’s interviews and artists, they all merit detailed exploration and recognition. Several of the interviews feature artists who have also contributed to Painting Perceptions. John Goodrich, the designer of the Conversations book, along with Xico Greenwald and Neil Plotkin, have all written reviews and conducted interviews for the site. I’ve had the privilege of interviewing Tim Kennedy, Matt Klos, Matthew Lopas, Emil Robinson, Elizabeth Higgins, Paula Heisen, Edmond Praybe, Ken Kewley, Sydney Licht, and Nicole Santiago, all included in this book. My hope is to eventually have the opportunity to engage with many more of these remarkable painters, delving deeper into their artistic journeys.

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An excellent Zoom Webinar with A panel talk with George Lucas, Walter Scott Murch, Judy Collischan, Robert Storr, and Winslow Myers — Moderated by Brane Živkovićon

More information, images and more at the waltertandymurch.com/

From the website

Walter Tandy Murch (1907–1967) is best known for his enigmatic, dreamlike still-life paintings of everyday objects and mechanical devices in a style that falls between Magic Realist, Surrealist, and Realist. This volume offers the most comprehensive collection of his work, including paintings exhibited at the Betty Parsons Gallery, monochrome works on paper, and Murch’s striking commissioned work for the covers of Scientific American, Fortune Magazine, and other commercial assignments.

George Lucas describes Murch’s work as simultaneously “functional and dreamy, simple and complicated; they are quiet yet grab your attention.” The tension of these opposing reactions draws viewers into Murch’s still lifes, which caught the attention of famed art dealer Betty Parsons, who also represented artists such as Jackson Pollock, Mark Rothko, Ellsworth Kelly, and Agnes Martin. Murch showed his work at Parsons’s gallery for nearly thirty years.

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Robert Beverly Hale reciting the initial lines of Arthur O’Shaughnessy’s initial lines from Ode from his book Music and Moonlight (1874)

We are the music-makers,
And we are the dreamers of dreams;
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world forever, it seems.

With wonderful deathless ditties
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory;
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three, with a new song’s measure,
Con trample a kingdom down.

We in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself in our mirth;
And o’erthrew them with prophesying
To the old of the new world’s worth;
For each age is a dream that is dying,
Or one that is coming to birth.

Too often we see many legendary masters of the past century fall into obscurity due to perceived irrelevance from art schools and the larger art community. As I get the time I want to continue to help in the effort keep alive older but still important voices for younger generations of painters who wish guidance from the past to better maneuver the future. One such voice is Robert Beverly Hale (1901-1985) who among other things was an abstract painter, published poet (verse and fiction published in The New Yorker and Mademoiselle magazines) In 1949 he became curator for contemporary American art at the Metropolitan Museum. He wrote the popular book “Drawing Lessons from the Great Masters” from Amazon.com as well as translated the classic anatomy text “Artistic Anatomy” by Dr. Paul Richer from Amazon.com. But what he is perhaps most known for is his teachings in artistic anatomy at the Art Students League of New York for over 40 years. He also taught at the Pennsylvania Academy of Fine Art for many years.

Hale was born into a prominent family in Boston, one notable family member was his cousin, Buckminister Fuller. He had many luminary friends and acquaintances which over the years included such people as his artist friend, Waldo Peirce introduced Hale to some of his friends such as Ernest Hemingway, F. Scott Fitzgerald and James Joyce as well as the painters Picasso and Matisse. He would often relate to students stories about his early years in Europe,” recalls Richard Tsao, who was a student of his in the late 1970s. “He would recall fondly that he played chess with Duchamp or met Matisse, or that he was a neighbor of Pollock’s out in the Springs” in East Hampton, New York. (from wiki article)

In Hale’s anatomy instructions, he taught the principles of working from observation, principles of chiaroscuro and the importance of reducing forms in nature to cylinders, cubes, or spheres. Hale believes that “good painting consists of good color, good composition and good drawing. In a Time Magazine review of a show of Hale’s paintings from 1960:

Good drawing has declined tremendously in recent years, because if anyone draws well he is attacked as being sentimental or anecdotal. The result is that many teachers cannot draw well and neither can their pupils. Therefore they are doomed to create what I call geometrical or biological abstractions—Scotch plaid or turkey-dinner paintings.” Hale’s own drawings look rather like Rorschach tests that the doctor never thought of. Using India ink and a very long brush, Hale sketches in the shadows of ideas. These blotlike shadows have sensitivity and boldness—a happy combination—but what do they signify? Plenty, he says: “In some cases I think I have achieved negative realism. In a few years I think it will be possible to communicate with life on other planets around the sun. I suspect we will learn more about negative realism from the beings on other planets. Negative realism is in the subconscious. New artists must break a hole in the subconscious and go fishing there.

In a long fascinating interview with Hale by Forrest Selvig, for the Archives of American Art Hale talked about the challenge of teaching anatomy and the tradition of drawing during the height of the Abstract Expressionism, even telling how de Kooning once told him that his teaching of anatomy was ruining students. He also goes on to discuss the divisions between the conservative/traditional students and the avant-garde that has even greater interest considering that Hale himself was an abstract expressionist painter of sorts. (I’ve been unable to find any examples of his work, only written description. If anyone knows of any images please post or send a link) I will quote a few select passages from this interview related to this division between the traditional and the avant-garde that seem as timely as ever.

There was also several videos made of Hale’s popular anatomy lectures late in his career in the early 70’s I think at the Art Students League. While the quality of the videos is often marginal these videos are an important resources for anyone serious about artistic anatomy and painting the figure. Sadly, they are not readily available as the person who is selling these videos (Jo-an Pictures) for $800.00 and claims to be the copy right holder (very questionable validity to this claim according to one person whose research could find no proof of this) on this excellent Line and Colors blog post about Hale. One commenter on this thread says he was the person who filmed these lectures and gives an interesting backstory.

Some people also stated on this thread how easy it is to download all of the videos from fileshare servers for free (a simple google search will likely show how this can be done) – but you wouldn’t be able to watch more than the first two excerpt teasers on YouTube due to the person who is claiming to be the copy right holder complaining and having the entire series removed.

Robert Beverly Hale interviews, 1968 Oct. 4 – Nov. 1, Archives of American Art, Smithsonian Institution
…………
…..excerpts from the full interview

Robert Beverly Hale (RH): I’ve never had very much time to do anything much. I try to do too many things. You see, all during this time I had to keep up on the anatomy. Anatomy is a very difficult memory job, you see. And you have to keep the memory alive and fresh if you’re teaching because students ask so many questions. And also because as I teach it I draw on the great board full scale all the muscles and all the bones and all the ligaments. And I have to be exact. So I have to give some time to that. And always have. It’s something like the you have to practice.

FS Have to keep in practice. I see, I was going to make a little remark here that I didn’t think that anatomy changed much over the years, but maybe.

RH: That’s why it’s a challenging thing to teach in these changing days, you know. It’s a marvelous thing to teach traditional drawings because the rules have all been laid down. And they are known. And there can be no arguments with the students really. It’s very easy to teach that compared to something that’s going on today.

FS I’m sure that you find some students who question the need to be taught traditional drawing at all.

RH: Oh, certainly yes. Not only students. One day in East Hampton de Kooning came up to my little studio there and said that I was ruining any number of people by telling them about anatomy. But as a matter of fact, I’m not sure that he’s right. This may be rationalization, but I believe that an artist has to know the technical tradition that has preceded him. And the more he knows about it the better off he is. As I see it, of course the tradition of European art technically speaking from the point of view of studio practice remained virtually intact until the 1860’s and the 1870’s when it was suddenly attacked by Impressionists. Not technically, the didn’t do very much to the tradition except perhaps to change the light direction on individual forms they played a little with perspective. and of course they played a little with color. The Post-Impressionist followed them. They tore down a few more rules of the tradition you know. They subordinated the direction of form because they loved the canvas plane so much. But remember that all the people who did this were trained traditionally and they knew what the technical tradition of European painting was. And they used all the tricks and devices that the traditionalist had used. You might say that the Cubists followed them. And if you know the tradition you’ll see that cubism employs the traditional devices fully. They were terribly aware of planes, of light on planes, and of the sort of geometric idea that is behind the tradition in any case. There couldn’t have been any cubism if there hadn’t been the tradition. It would be impossible. So it seems to me that, as everybody knows, all art comes out of the preceding traditions. And I think it’s a help if artists know where they stand in the technical procession from the early days to the present. If they have the resources that the technical tradition gives to them I don’t think its a hindrance at all. I think its an enormous help. I’m always a little impatient with artists who don’t know how they achieve their effects and who just depend on emotion and luck to get their effects. I don’t think any good artist does. As a matter of fact, almost all the first rate contemporary artists I’ve known have been pretty darn well trained. And they know just where they stand not only in the historical tradition, but in the technical tradition. I’d like to separate the two. And I think one has to because it’s been my experience that most art historians are quite ignorant of the technical tradition. Artists however usually have quite a good idea about the history of art. But I am again and again upset by the loose way that historians of art talk about the technical tradition. They don’t know it. But you can’t know it unless you have played with it and done it and actually had the feeling in your brush or pencil. It’s a hard thing to learn. And a slow thing to learn.

RH: It’s terribly true of the vociferous avant garde group of this town. In fact what has always amazed me is the deep separation between artists during the days of the abstract expressionists they seemed to be utterly divided from the conservative artists. Certainly they never went to each other’s funerals I can assure you. And they hardly knew the name of the other group.

FS Well, wasn’t this particularly true however of the abstract expressionists more so then, well, perhaps we’ve never had a movement as overwhelming as that one was.

RH: I don’t believe we ever had.

FS And this included not only the artists themselves but writers, museum people, a great commitment all over, all across the board.

RH: Yes, a great division.

FS They divided themselves from everybody else certainly but won the day and ruled for a good long time.

RH: Well, of course it did, again in the minds of the avant garde. but the others went blithely along ignoring it. This has interested me deeply psychologically you might say because I have to know both groups, you see. Well as I was saying, I might give a dinner party here to a group of prominent conservative artists and they’d never heard of Kline and Pollock and the others, you know. Whereas I would have that set and they would never have heard of Leon Kroll or Isabel Bishop. They were very divided. It seemed to the preposterous but that’s the way people are I think.

FS It’s a little harder for me to see how the established traditional artists would not have heard of the newer ones because they had such a big press, Art News and so on.

RH: Well, they didn’t like to read Art News undoubtedly or allow it to come into the house. The bulletins from the Modern Museum were also disturbing. They lived in an ivory tower. The National Academy is still going up there carrying on its own business and ignoring the rest of the world, having their little shows that nobody comes to giving out their prizes.

Daniel Greene, Portrait of Robert Beverly Hale, 1976, pastel, 50 x 36 in

FS It’s interesting to think of their school in relation to the Art Students League. RB:Well, it is fascinating yes. But I don’t think it’s so bad because I do feel that artists should have an understanding of what the tradition is, you see. I know I paint rather wildly myself but when it comes to teaching I like to start off with the traditional fundamentals.

FS But in the Art Students League I’m sure that they’re urged to go up I’m sure that you especially would urge the students to go up to the Metropolitan to see the exhibitions.

RH: Oh, of course, yes.

FS And other teachers would as well.

RH: Oh, I’m sure. The strange thing about the League is that almost all young people are strangely conservative at heart when they first show up at the League and they join the conservative clauses. But bit by bit they become sophisticated I think largely through talking to the other students. And they find out about the whole history of art and especially the history of the last fifty years and they begin to experiment and move on. But largely they start out in the conservative classes. They always seem to have a historical sense that way.

FS They perhaps feel more at home with it too.

RH: Well, in the beginning, you know, they’re really fairly simple-minded when they turn up, most of them. They’re young and they don’t know how the art world is put together or they don’t really know much about what art is. They have a feeling that it’s the representative of so-called reality. That seems to be what they try to learn first. Since I teach that, why I get a great many of the new ones, the beginners, and try to start them on their way. But I try to point out to them that there are other places to go besides the traditional.

Oral history interview with Robert Beverly Hale, 1968 Oct. 4-Nov. 1, Archives of American Art, Smithsonian Institution.

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There is a DVD (currently only able to get in the UK) of film-maker Jake Auerbach’s Lucian Freud: Portraits. I have a 3 part, relatively long youTube excerpts that give an excellent sampling of the movie after the break.

Also, In case anyone might have missed it, last fall the art critic Martin Gayford came out with the book, Man With a Blue Scarf: On Sitting for a Portrait by Lucian Freud by Martin Gayford that reveals what it was like having Lucian Freud paint his portrait over the course of seven months. It is an engaging read with many interesting moments as Lucian Freud discusses his work, art and personalities. The Guardian.com book review by Laura Cummings said:

What is unusual is the fact that the sitter is painting a rival portrait, of sorts, and the sheer volume of their conversation. Most of the talk happens before and after evening sessions, “like a marathon dinner date”, and Freud’s opinions become addictive: his loathing of Leonardo and “the awful Mona Lisa”, of Raphael’s weightless figures (“I sometimes can’t tell which way up they’re supposed to be”), of everything by Dante Gabriel Rossetti, whose work is “the nearest painting can get to bad breath”. Picasso, whom he knew, is guilty of emotional dishonesty and being out “to amaze, surprise and astonish”, compared to Matisse, whose art is far greater because it concerns the life of forms, “which is what art is about, really”.

A review by Maureen Mullarkey brings her fellow art critic and the artist’s megalomania to task with her hilarious but stinging review, here is an excerpt and a link to the full review (a great read)

Enter Martin Gayford, critic, and author of The Yellow House, a lively sketch of Van Gogh and Gauguin together in Arles, and Constable in Love. Both prove Gayford a deft biographer of the well-known and documented dead. But something happens in company with the living. Man with a Blue Scarf is the diary of seven months spent, at the author’s own request, as Lucian Freud’s model. The result is oddly redolent of Facebook: Gayford wants you to know that Freud agreed to “friend” him, and he cannot quite get over it….

…Gayford supplies the obligatory angst, but it is largely his own: “What if he loses interest in me as a subject, as he did in the horse he decided not to paint?” It is hard to press creative agony out of an artist whose presumption of his own amplitude permits him to regard the history of art as an accompaniment to himself. Gayford sanctions Freud’s admitted megalomania as “necessary for an artist who intends to add something new to a tradition already 5,000 years old.” The book stretches Lord’s spare formula—a mix of chronicle, autobiography, and opinion—with the sort of patter you can follow on Twitter: “LF has a mysterious visitor coming at seven.” LF is going to Kate Moss’s birthday party. LF loves his bath. LF can tell time to the minute without a watch. MG met Damien Hirst who ran into LF . . . . LF drinks a carrot juice smoothie.

– Maureen Mullarkey

There are a few parts of the book where Gaylord discusses Freud’s working methods that I particularly find fascinating, such as that he doesn’t make a careful outlined drawing first, that he will just start with painting in the middle of the face, an eye or a nose, and paint it to completion, gradually working his way outwards.

You can buy this book from Amazon from this link and also help support Painting Perceptions.
Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud

Lucian Freud: Portraits
Here are the excerpts from the DVD from youTube. Lucian Freud himself doesn’t appear in the movie except briefly at the end. The film was made by Jake Auerbach (Frank Auerbach’s son) who has also made films on Paula Rego and his father.

part one

part two

part three

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I recently discovered this incredible online resource, Vincent van Gogh, The Letters, put together by scholars from the Van Gogh Museum in Amsterdam, the complete translated 902 letters of Van Gogh along with over 4,300 illustrations – every work to which Van Gogh refers is reproduced. There are excellent search features that allow you to easily view the letters, artwork, notations, translations, etc by period, location and by correspondent.

Most of the letters were written to his brother Theo, but Vincent also wrote to other family members, including his sister Wilhelmina. He also wrote letters to several other artists, such as Emile Bernard and Paul Gauguin. The letters often show the evolutions of his ideas about painting, nature and literature.

If you’re like me and collect artbooks then you will seriously be considering wanting the physical book version, which has six volumes with a slipcase. However, just because you want something doesn’t make it so, the free online version will keep us occupied while waiting for the right amount of “discretionary income” to fall into our laps!

But if you do decide to spring for the hard copy, please consider buying it from this Painting Perceptions’ link to Amazon.com
The price new ranges around $640.00 but used versions can be found for $450+

If you do buy the book from clicking our link to Amazon it will help support this site by giving us a small percentage of the sale. This money can then be used to help pay for travel expenses to make more video interviews with painters, labor fees, etc.

Also of interest is that The Royal Academy in London is having a major Van Gogh exhibition through April 18, 2010, where they will display around 65 paintings and 30 drawings along with over 35 original letters, which rarely get exhibited due to their fragility.

From Amazon:

A massive work of scholarship as well as a visual delight. (Sunday Telegraph [UK] )

The greatest cache of writing about art left behind by any artist. Intense, relentless, gossipy, utterly fascinating. (The Sunday Times [London] )

The most important art publication of 2009, if not of the decade. (Financial Times )

This could be the best autobiography of an artist yet to appear anywhere. (The Economist )

With his words and visions united in all their blazing intensity, this momentous edition at last completes the palette of Vincent’s double art. (The Independent [UK] )

This edition is an immense treasure trove of biographical and art-historical information. The culmination of fifteen years of new research and superseding all previous editions in its ambition and up-to-date scholarship, it provides a lasting pleasure as a personal testimony to a life consecrated to art.

* Over 4,300 illustrations
* New transcriptions of every known letter to or from Van Gogh
* The complete collection: this edition includes all the letters, both in the Van Gogh Museum and those in other museums, archives and private collections
* New translations render Van Gogh’s words more closely than ever before – unadorned, unimproved, faithful and accurate
* Van Gogh’s sketches, made throughout the letters, are reproduced here at full size
* New material: previously unknown letters and fragments of letters are published in English here for the first time
* New scholarship: fifteen years of new research have added to scholars’ understanding of Van Gogh’s life and work. Extensive research has been carried out to identify every work of art mentioned, whether produced by Van Gogh or by other artists.
* Authoritative editing: many omissions and misreadings in previous editions have now been corrected. For the first time the letters are fully annotated.
* Supplementary texts add information about Van Gogh’s life, his family, his correspondents, his characteristics as a letter-writer and the context in which the letters were written. Also includes a comprehensive list of materials discussed in the letters, a chronology of his life and a full index
* Exemplary design: the typography and design is by Wim Crouwel, one of Holland’s most accomplished book designers of the last fifty years

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