The Perpetual Turn of the Crank

Sunday Morning Meditations

In precipio creavit Deus caelum et terram . . .

Genesis 1:1 Latin Vulgate

Genesis 1:1 Septuagint

Sunday mornings for me usually mean translating from the biblical texts. Before going into the studio to paint, I decided to do some work on the Genesis creation story, always inspiring to me. On this day I chose to work from the Latin Vulgate alongside the Greek translation of the Hebrew Bible. The opening verses describe how God looked upon a chaotic mass and then spoke a world into order, by degrees. I always think of this when I approach a white rectangle of paper and make my first marks upon it, whether it be strokes from a pencil or a brush. As Robert Motherwell put it, each mark calls out for another, and drawing involves the organization of space. After about an hour of reading, I turned my attention to completing another commission that has been before me for several weeks now.

Just a few more adjustments to complete this work

I always seem to enjoy painting more after spending some time reading early in the morning. Paul Cezanne’s habit was to rise at 4:00 a.m. and read for two hours before painting. I choose not to set an alarm, so my rising from bed usually occurs somewhere between 7 and 8:00. Coffee is made first, then leisure time reading over coffee and recording ideas in the journal. In these simple pleasures I find the greatest joy and satisfaction, the beginnings to a potentially perfect day.

While painting this morning, a passage read recently from Zola’s Masterpiece stayed planted in my mind:

Paris? What were the others doing in Paris? Oh, nothing particularly new, really. Still, they were putting up a pretty good fight to see who would get to the top of the tree first. And, as might be expected, folks who stayed away from Paris were making a sad mistake; Paris was a good place to be in if you didn’t want to be forgotten altogether. But surely talent would out, wherever it was, and didn’t success depend to a great extent on strength of will? Oh, there was no doubt about it that the ideal was to live in the country and pile up masterpieces and then go back to Paris and swamp it with them!

What I am about to write is an example of the kind of stuff I scribble daily in my journals, what Harold Bloom would refer to as “overhearing myself.” Warning to the reader: you might be finished with this blog, and if so, thanks for reading!

Zola was referring to the cadre of artists we now call the French Impressionists as they clustered in Paris, the epicenter of the art world, and tried to make their mark. This reminds me of days long ago, through high school, college, and then later in my early stages of the “emerging artist.” There was that perpetual scramble for recognition–awards in competitions, interviews for newspapers and magazines, public exhibitions in art galleries that continually stirred us all up with ideas and aspirations of fame.

Some years ago, I happily settled down. I no longer chafe at the notion of art being a solitary enterprise. I have always enjoyed solitude, and now I find more satisfaction than ever before with just the mere act of creating, of turning the crank, rather than reaping some reward in the form of public recognition. I still enjoy the company of fellow artists and really miss them now with all this social distancing. But I’ll see them again, soon I hope. In the meantime, I plan to continue enjoying the quiet time in the studio and leisure reading of art history, literature, philosophy or whatever sparks my interest.

Thanks for reading.

I make art in order to discover.

I journal when I feel alone.

I blog to remind myself I am not alone.

The completed work

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2 Responses to “The Perpetual Turn of the Crank”

  1. Dian DArr Says:

    I love this!

    Like

  2. davidtripp Says:

    Thank you, Dian!

    Like

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