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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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In Reply to: Keith Jarret fans- back story to Koln and discussion of creativity posted by digda_beat on May 9, 2017 at 15:04:17:
Thanks for the link. It's good stuff. As a bonus, here's Picasso on creativity - love his ideas:
Conversations with Picasso - Christian Zervos
Up to now pictures moved toward their completion by progression. Each day brought something new. A picture was a sum of additions. With me, a picture is a sum of destructions. I make a picture, and proceed to destroy it. But in the end nothing is lost - the red I have removed from one part shows up in another.
It would be very interesting to photograph not the stages of a painting, but its metamorphoses. One could maybe see by what course a mind finds its way towards the realisation of its dream. But what is really very curious is to see that the picture does not change basically, that the initial vision remains almost intact in spite of appearances. I see often a light and a dark - when I have put them in my picture, I do everything I can to break them up in adding a color that creates a counter effect. I perceive, when this work is photographed, that what I have introduced to correct my first vision has disappeared, and that after all the photographic image corresponds to my first vision, before the occurrence of the transformations brought about by my will.
The picture is not thought out and determined beforehand, rather while it is being made it follows the mobility of thought. Finished, it changes further, according to the condition of him who looks at it. A picture lives its life like a living creature, undergoing the changes that daily life imposes upon us. That is natural, since a picture lives only through him who looks at it.
At the beginning of each picture there is someone who works with me. Toward the end I have the impression of having worked without a collaborator. When one begins a picture one often discovers fine things. One ought to beware of these, destroy one's picture, recreate it many times. On each destruction of a beautiful find, the artist does not suppress it - rather he transforms it, condenses it, makes it more substantial. The issue is the result of rejected discoveries. Otherwise one becomes one's own admirer. I sell myself nothing! In reality one works with few colors. What gives the illusion of many is that they have been put in the right place. I want to develop the ability to do a picture in such a way that no one can ever see how it has been done. To what end? What I want is that my picture should evoke nothing but emotion.
I behave with my painting as I behave with things. I paint a window, just as I look through a window. If this window when open doesn't look good in my picture, I draw a curtain and close it as I would have done in my room. One must act in painting, as in life, directly. One must have constantly before one's eyes the very presence of life.
The academic teaching about beauty is false. The beauties of the Parthenon, the Venuses, the Nymphs, the Narcissuses, are so many lies. Art is not the application of a canon of beauty. We cling to myths instead of sensing the inner life of the men who painted them. What interests us is the uneasiness of Cezanne, the real teaching of Cezanne, the torments of van Gogh, that is to say the drama of the man. The rest is false.
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Follow Ups
- Really worth a listen! Plus Picasso on creativity - andy evans 03:40:34 05/10/17 (0)
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