It feels as if I am gathering my apples, getting them ready for market. My plan looks to next summer as the time to gather my work, completed over the last year, and exhibit it. I have just begun a series of self-portraits. These seek a means toward self-expression, which is what I do in all my work. The self-portraits are different because they deal with the problem of reality becoming an expressive artifice, rather than an imagined image, artifice in its creation, becoming reality. Yesterday I completed "Self-Portrait, March 2011" and also one drawing. I am happy with both of them. This kind of happiness is a rare event. It gives me optimism.
Often I have written of the impossibility of proper reproduction of my artwork. It is not just me. In the the March 7, 2011 issue of The New Yorker Peter Schjeldahl reviews the new biography by Meryle Secrest, "Modigliani: A Life." Mr. Schjeldahl writes about viewing reproductions versus authentic works of art when he relates Ms. Secrest's reaction to viewing Modigliani actual art, after seeing it in reproduction. This from Peter Schjeldahl's review: "She recounts her own responses to the first-rate Modigliani portraits and the torrid 'Nude on a Blue Cushion' (1917), which the banker Chester Dale gave to the National Gallery of Art, in Washington, in 1963, finding them vastly more nuanced and subtle than she had been led to believe by reproductions. This is an ordinary epiphany, with regard to paintings viewed in person." A reproduction of Modigliani's "Nude on a Blue Cushion" is shown below reproductions of my work from yesterday. As usual, I want to make it clear, I am unable to properly show the nuances of my work in these blog posts.
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