Remakes vs. Reproductions and Why it Matters; with Paintings by Rasmuss & Guimaraes.

Remake of Rouault's: Flowers in a Yellow Vase 1939  C.T. Rasmuss, acrylic (2014).

Flowers in a Yellow Vase 1939   Georges Rouault, oil.

     
For the last few years I've been focusing a lot of my effort on studying the masters, comprising mostly of the Impressionists like Cezanne and Manet; Post Impressionists: Gauguin and Van Gogh; Modernists: Matisse, Derain, Braque, Mondrian, and as you see above, Georges Rouault; Surrealists: Miro, Chagall and Dali; Abstract Expressionists: Pollock, Rothko and Mark Toby; as well as countless other artists and their respective movements, too many to mention.

As a result of studying these artists, I've been inspired 10 fold; as to opposed to if I had never picked up a book based on them, their work or, especially seeing it in person.  Every time I paint, I understand that: no artist especially, can claim to be 100% autonomous in their efforts, no matter how hard they try, so I say why not just embrace it and use it to our advantage, the way I believe it was intended; just like the masters before us payed homage to those before them: how these greats admit truth and thereby profit from those compounded truths.

Remake: Alexej Von Jawlensky's Portrait of Alexander Sakharoff 1909  Paulo Guimaraes (2014).

Alexej Von Jawlensky's Portrait of Alexander Sakharoff 1909, oil.

Below is a statement by friend and artist Paulo Guimaraes, who inspired this post and the need for such a post.  He's the creator of the Jawlensky Remake above, which I personally prefer to the original; this makes total sense if you think about it, given that Paulo is a more than capable artist who claims to be still learning, but this is how all the masters felt if you asked them especially even in their later years, also his painting is more up to date, as I will give you an example of what I mean, after Paulo's statement on this pressing issue in today's art-world:

Paulo Guimaraes: The 21st century has been a time of technological advances in medicine, computers, cellphones, and even in the Art world. Much of the art I see through online gallery websites, have been created by digital means or are paintings “perfect” in execution, they follow the style of old masters such as Da Vinci, Michelangelo, or Rodin. This perfection is as pretty as a photograph. However, it was not long ago that photographs replaced these same realistic works of art; inviting a new bread of artist to take over, radical in thought, action, and execution.

These such artists were Picasso, Matisse, Duchamp, Pollock, Dali, Miro, and so on; these artists changed the face of art in the way, that anything could be considered art. And I am one who agrees with this with all my heart, I feel the art world of today needs to re-focus on the Masters of Abstract expressionism, Surrealism, Dadaism, Automatism, etc. the movements their artwork and accompanying doctrines helped establish - The rebel 'isms' of the art world.

Lately I've been on a mission to remake some artworks by these rebellious artists, as an homage to their greatness and will to step outside the box, for the sake of all of us. It seems to me that today's art loving public want something exactly like the original as reproductions/prints. But to me, this is a disservice to the Masters of the strange exciting and originality! To pay true homage to the arts, we must embrace their work and then make it our own, add our own flavor to the mix and bring new life into the old!! Join me and artists like C.T. Rasmuss, as we witness the Phoenix come alive once again!!

Self Portrait & Vesuvius Man Leonardo Da Vinci, drawings (1490).

Ceiling of Sistine Chapel  Michelangelo, fresco (1508-12).

The two photos above, are perfect examples of realism and the exactness(what Paulo was referring to) in standards of painting set by Leonardo Davinci's iconic, Vetruvian Man, such exactness acclaimed in the Michelangelo's painting of The Sistine Chapel.  Then in the mid-19th century a shift started to happen, a split actually, right around the time of the invention of the photograph, eventually(as Paulo pointed out) for many artists there was no longer the need for accuracy, because the photograph could do it better(exactness of Vetruvian Man) and thanks to photographers like Alfred Stieglitz and and Ansel Adams at the turn of the century, they started to infiltrate the art world and give the camera legitimacy.

                                                    Georgia Okeefe Hands 1919, Alfred Stieglitz.                         

                                                              Church & Abandoned Automobile Ansel Adams 1957.

So today, you can do a remake or reproduction of the above two photos or any painting you like really, but the difference is, a remake is to: make(something) again or differently and reproduction is the: action or process of making a copy of something.

So there you have it, so when an artist sets out to paint a "remake", with an intent to learn through another artist, such as one of the Masters of the past he is not copying something, but indeed doing a remake with an intent to create something anew! To bring it into the future perhaps, I think it's very important for artists today to make this distinction, because Isle 7 of your nearest Walmart is full of reproductions, and as artists is up to you and I to do what we can to help tear down isle 7 with all our will, and thereby creating and obsolescence for such TRASH(reproductions)..

And when I mean Trash I'm talking about poster reproductions of: Starry Night, Escher's Night and Day, The Mona Lisa, etc. even those more expensive canvas prints, and especially cheap reproductions of mediocre contemporary art; all for the sole purpose of "makin a quick buck"!  Original art is vital to the art movement and a strong culture, and remakes are an integral part of it, as opposed to the damage caused by a multitude of mere reproductions.

Here's one of my favorite examples of an (extreme) remake; which there are many throughout art history, you just need to find them, and I truly hope you to  introduce even more great art:

The Luncheon on The Grass  Edouard Manet, oil (1862-63).

The Pastoral Concert  Giorgione or Titian, oil (ca. 1510).

 Manet's inspiration for his: The Luncheon on the Grass was The Pastoral Concert, painted back in the time of the Renaissance and something even more interesting has just come to my attention; thanks to this inquiry I was able to discover the following information on Picasso's homage to Manet's single masterpiece(a great artwork I've been intrigued with ever since art school) I found it on the MoMA's website:

"The painting Luncheon on the Grass by Édouard Manet was the starting point for an extensive series by Picasso, including twenty–seven paintings, one hundred and fifty drawings, eighteen maquettes, and five prints."
link to: MoMA article.

Picasso remake: Edouard Manet's The Luncheon on the Grass.

                             

                                Picasso remake: Edouard Manet's The Luncheon on the Grass.

So I leave you with this in mind, even the greatest of artists such as Picasso, really all of them, "pay homage" to the greats before them, so why not us, I feel the art-world has tried to turn its back on its past for too long, which has created a weakness in this once grandiose field, much like music has turned to POP rubbish, we believe it's time for a Neo-Renaissance, and this is a good example of how to start defining that movement.

Remake of Modigliani's: Madame Survage by Paulo Guimaraes.

Madame Survage  Modigliani, oil.

We can only get better as a whole, and that takes guts!!!

James McNeill Whistler: Adaptation of an Artist's Radical Template. (Part 1 of 2)

                                                Self Portrait  C.T. Rasmuss, oil (2008).

After 10 years of putting my heart n soul into this, I can now safely say with humility: "that I am an artist, and will die an artist".

I believe that I've moved forward  in my life in many ways, thanks to my particular "Pursuit of Happiness"; which is: painting and sculpture mostly.  The fuel is my past, both good & bad; and the need for a higher spiritual being beyond my present state, in a never ending perpetual focus.

Given the clarity which I see all of this, there still remains the other half: "How to sustain/fund my exploration?"; I personally believe that Universally we are at a crossroads in the art-world, with many more than just 2 = +, as we are much more complex than any other generation before us, technologically, population wise, philosophically, religiously, you name it..

The reason for my blog post is: I plan to present a local gallery with a curated show(all of my own artwork) with a focus on introducing a new way in which the art interacts with the patrons or viewer.  In an effort to bring the meaning of Contemporary art up to speed with our modern society; as the current standard of white walls, wine, and paintings all in a row, is a standard that was introduced over a century ago.

Via this post and Part II, I hope to show you how this change was a response to then what was a modern time, which has been outdated for sometime now, and how again it's time for a major upgrade.  I believe it's not up to the galleries to make this upgrade, as they try, in an effort to make sales and purely customer based, but it's always been up to us, the story tellers, the creators of these ideas that make the world reflect upon itself.

There is a great example of how a single artist can influence "the way things are done", this particular artist I'm speaking of and inspired by was a radical with radical ideas, painting ideas and methods; who changed the way things were done in his time, he promoted himself in a new way and single handidly influenced the standard, to adapt to the changing times and needs of his era:

Portrait in Grey, self portrait  James McNeill Whistler, oil (1872).

Before getting into the nitty gritty, first a few examples of James McNeill Whistler's innovations,

"Whistler invented a monogram signature—a stylized butterfly based on his initials—and always placed it deliberately as a compositional element, not just a maker's mark. His devotion to overall harmony extended to interior decoration, furniture, and the design of frames and even entire exhibitions. He became a central figure in the Aesthetic movement, which was founded on the philosophy of "art for art's sake" and emphasized artistic principles, elevated taste, and creative eclecticism in the conception and production of furniture, metalwork, ceramics and glass, textiles and wallpaper, and other objects. He was also an influential print-maker. Whistler's innovative paintings and pronouncements invited controversy."

     -Heilbrunn Timeline of art History

Link to: source article online

This is where I leave you for now; next I will give you more specifics on Whistler's contributions to the art-world, "art for art's sake" - wise, etc. and I'll show you how I plan to adapt his "template" to the way things must change for today.  There's a great change that must take place worldwide, especially in a way that the dedicated artist can be fully successful in the 21st Century; (of course there are many solutions to a problem); and I've firm belief in in this vision of mine, which is derived from a Master of masters.

Follow this link to view the completed part 2 of 2.

What's in The MoMA? Artist - Paulo Guimaraes Gets Inspired (Part 1 of 2).

Ode to Picasso  C.T. Rasmuss, pastel (2008).

  What's at the MoMA?

For those of you who are not familiar with the MoMA, its the Museum of Modern Art in New York City, definitely the best museum I've ever visited, of course in my short career I have visited a small portion thus far, but it's a top museum worldwide nonetheless, especially for Modern art.

Recently I viewed a post on Facebook by artist friend, Paulo Guimaraes, where he states:

"Heaven does exist! It's called the 5th floor at MoMA!!!! Seurat, Cezanne, Van Gogh, oh myyyyyyy!"

This got me to thinking: “How could I bring Paulo's latest 2 works of art that he shared with me, and the topic we've been discussing over my last few blog posts together?”

Answer - The MoMA!!!!

It is filled with masters, especially with Picasso's if not more so than any other artist of the Modern era, our discussion has been about “going into the past and seeking out the Masters for influence”, what better way than seeing their work up close? As evidenced by Paulo's reaction to his visit, and what better place than the MoMA?(for a person living in Bronx, NY).

Next there's Paulo's two pieces of artwork(seen below), where he told me that he was influenced by Picasso and a Contemporary by the name of Keith Haring, And if you notice in his statement of excitement/revelation; he doesn't mention Picasso, perhaps because re-familiarizing with a master took a back seat that day, to the excitement of new horizons, therefore opening his eyes to the potentiality of other “heroes”!

The God Particle Dualistic Confusion Chamber  Paulo Guimaraes, oil/pencil (2014).

The Root of all Evil  Paulo Guimaraes, oil/pencil (2014).

In turn, I believe experiences like this of his, lead to other findings on top of that; and once we familiarize ourselves with these new found heroes, perhaps then we move onto discover their very own heroes, for example: 2 of Cezanne's(who Paulo refers to) heroes were: Gustave Courbet and Eugene Delacroix, and they of course had their heroes as well, and so on..

I'm not saying Paulo never saw a Cezanne or Van Gogh till now, but upon his visit, he has become more aware of his “surroundings” as an artist in a world of creativity; passed down from generation to generation, displayed in a Museum where the Masters reside, and their ideas are as inspiring as the day they were generated, if not more so.

To be Continued...

[To familiarize you with Keith Haring, here's one of his artworks that struck my fancy if you will; an artist whose work I've come across many times, and if it weren't for Paulo sharing his influences for these two paintings, I may never have given him the attention he deserves]:

Follow this - Link for more on Keith Haring<

Sunflower Harvest - 2014 by C.T. Rasmuss.

My last oil, en plein air, inspired me so much, by way of process and every which way; that I've decided to get my butt going again: before fall arrives I'm planning do a another oil, this time on Sunflowers that I grew this summer.

I figure now to do a series on all 4 seasons, as I just purchased 3 additional canvases for a great price of the same size, the same size as my 'Matisse Garden', the en plein air which I'm referring to.  The canvases are 18" x 24" which I feel are perfect for a still life -floral- as they're also easy to view and carry back and forth to and fro from my studio.

I chose the best 12 photos I took and cleaned them up the best I could, same as last time, weather permitting, I hope to paint it's entirety outdoors, where I'll arrange the photos onto the canvas and alternate them as I see fit, creating an overall, natural composition in harmony with the outdoor mood I'm in:

Add caption

Link to: Matisse Garden - en plein air, an oil by C.T. Rasmuss.

Matisse Garden by C.T. Rasmuss, oil; in process/Part II - FINISHED (Summer of 2014).

Matisse Garden - Summer of 2014, en plein air  C.T. Rasmuss, oil.

It took me all summer, but after some struggles in finishing what I started, I was able to....well finish. I believe it took me 5 settings all together, being that it's an oil, I used Liquin for the first time to help drying process along the way, as I'm not keen to additives, but it helped I believe. As I had no excuses for not being able to finish it before summer was over, because it still needing to dry in between settings, lol.

As I first set off in the beginning of the summer to do an en plein air, still life from my own flowers in in my own garden space; in the style of Matisse(but still a tribute to Monet's Garden), I thought it would be a simple process: take pictures, paint from photos and the live ones in front of me, and done(one day if that). Whoops - I was wrong, it ended up being a beautiful process and to pay such a process the proper respect, it takes the proper time and devotion, which took a whole summer, and I just finished in September a few days ago.

Here's a link to the original post in June when I started, it also contains photos of the 5 flowers I originally had in mind:   link to Matisse Garden - original post.

And I have posted 4 additional flowers which I eventually added to the piece; 4 much needed flowers that I had the blessing to have on hand, growing around me in the comfort of my own home:

The End

of the summer that is..

Copying the Masters leads to True ORIGINALITY.

Jackson Starr-fish  C.T. Rasmuss, acrylic (Aug. 2014).

When people grace me with the pleasure of asking me about my process, I respond enthusiastically as best I can; I tell them where my inspiration stems, and where I wish to take it(if given the proper time, and no tangents).

And at times I have other artists, especially, challenge me as to why, in this particular case(referring to Jackson Starr-fish) "Why copy Jackson Pollock, why not do your own thing?".  Well, once n for all I hope to give a good enough explanation, worthy for any further criticisms, or doubt from here on out..

Here below is Pollock's 'Wooden Horse', 1956:

   'Wooden Horse, number 10A'  Jackson Pollock, enamel/wood (1956). 

...I mention this because when I first got to New York in 2006-7, I encountered this piece and it stood out to me more than any other of his and comparatively other artists, up to that point and ever since then worldwide, alive or dead.  This painting still does, but now in a different way, by comparing my 'Jackson Starr-fish' with Pollock's 'Wooden Horse'.  It say's to me: "I've succeeded in coming to terms with my encounter with this specific painting and the artist-master who created it!"

Now I may move on, because I believe the piece you see below, is the beginning of my separation as an artist from the master, specifically in this case Pollock; but this is just one line of work in my overall oeuvre, as I have many other inspirations, aspirations, and paths to start anew:

                                            Stop Sex Trade  C.T. Rasmuss, Mixed Media (Aug. 2014).

So this is where I leave you Pollock(as you left Benton), thanks for the technique and inspiration; I will proudly take it from here, and see where it leads me, as this fits into one of my philosophies: "...bringing the past into the future, creates a rich society".

I just hope someday that my artwork too, is worthy of duplication someday, in a effort to reach into the Great Beyond, an exercise necessary in order to truly be ORIGINAL.

American Dreamer: Connecting to Masters of the Past by C.T. Rasmuss

American Dreamer  C.T. Rasmuss, acrylic (2013-14).

Well this work of art has been well over a year in the making, including huge breaks between sittings; when I started on it, I took off like a shot, as if I were going down the path that all artists dream of.  Not saying that I was wrong, but it's just that I slowed down and had to put it away many times, haha - until I finally tuffed thru & finished it last night!

My idea revolved around Cezanne's 'Mont Sainte-Victoire and Viaduct', painted in (1882-85), "...series of portrayals of the Mont Sainte-Victoire, a veritable monument in the region, which is depicted more than 80 times by Cézanne in oil on canvas, watercolor and sketches."
Link to Article: The Mont Sainte-Victoire by Cezanne

When I was studying Cezanne in depth for the 1st time, I also came across George Braque's remakes of: Cezanne's "mountain" of a muse; Braque painted many variations in midst of developing his cubist style, so I sketched the one I was most drawn to, and later on put my plan into action.

Shown below are the two masterpieces I used as references which I drew sketches from:

Mont Sainte-Victoire and Viaduct  Paul Cezanne, oil (1882-85).

Not including the step in deciding and coming up with the idea/execution, here's step 1:

Step 2 was fusing them together with my style, and here's the preliminary result:

Just a few more sketches I could find, needed for adjustments on perspective:

In the end I hope I've been able to show you what I set out to do, and ultimately that is: how one generation of artists can communicate to the next, and how a contemporary today can still extract rich such beauty from the past, as if it were still alive...I hope!!