THE ART SPIRIT PDF
This books (The Art Spirit [PDF]) Made by Robert Henri. Book details Author: Robert Henri Pages: pages Publisher: Basic Books Language: English ISBN ISBN I Can Read - Book A, Orton-Gillingham Based Reading Lessons for Young. THE ART SPIRIT BY ROBERT HENRI PDF. From the mix of expertise as well as actions, an individual can boost their skill and capacity. It will certainly lead them . [PDF] The Art Spirit by Robert Henri [PDF] The Art Spirit PDF [PDF] The Art Spirit by by Robert Henri This [PDF] The Art Spirit book is not really ordinary book, you .
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"I would give anything to have come by this book years ago. It is in my opinion comparable only to the notes of Leonardo and Sir Joshua One of the finest. Editorial Reviews. Review. "I would give anything to have come by this book years ago. It is in my opinion comparable only to the notes of Leonardo and Sir. The art spirit by Robert Henri, Robert Henri; 1 edition; First published in ; Subjects: Art, Protected DAISY, In library.
Institutions on the world surface can rise and become powerful and they can destroy each other. Statesmen can put patch upon patch to make things continue to stand still. No matter what may happen on the surface the Brotherhood goes steadily on. It is the evolution of man. Let the surface destroy itself, the Brotherhood will start it again.
For in all cases, no matter how strong the surface institutions become, no matter what laws may be laid down, what patches may be made, all change that is real is due to the Brotherhood. Henri reminds us that we often let these surface storms — of institutions, of public opinion, of the ephemera that surround the essence of the art spirit — cloud the fundamentals of the creative life, but because art is but an imitation of the forces of nature , it endures even in the face of these superficial surges: In these times there is a powerful demarcation between the surface and the deep currents of human development.
Events and upheavals, which seem more profound than they really are, are happening on the surface. But there is another and deeper change in progress. It is of long, steady persistent growth, very little affected and not at all disturbed by surface conditions.
The artist of today should be alive to this deeper evolution on which all growth depends, has depended and will depend. On the surface there is the battle of institutions, the illustration of events, the strife between peoples.
On the surface there is propaganda and there is the effort to force opinions. The deeper current carries no propaganda. The shock of the surface upheaval does not deflect it from its course.
It is in search of fundamental principle; that basic principle of all, which in degree as it is apprehended points the way to beauty and order, and to the law of nature. And, indeed, the members of the Brotherhood do not die. It takes me hundreds of hours a month to research and compose, and thousands of dollars to sustain.
Your support really matters. If you find any joy and value in what I do, please consider becoming a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a good lunch.
He can work in any medium. He simply has to find the gain in the work itself, not outside it. Museums of art will not make a country an art country. But where there is the art spirit there will be precious works to fill museums.
Better still, there will be the happiness that is in the making. Art tends towards balance, order, judgment of relative values, the laws of growth, the economy of living—very good things for anyone to be interested in. Few have the courage and stamina to see it through. You have to make up your mind to be alone in many ways.
We like sympathy and we like to be in company. It is easier than going it alone. But alone one gets acquainted with himself, grows up and on, not stopping with the crowd. It costs to do this. If you succeed somewhat you may have to pay for it as well as enjoy it all your life. Cherish your own emotions and never undervalue them. We are not here to do what has already been done. I have little interest in teaching you what I know.
In my office toward you I am simply trying to improve my own environment. Know what the old masters did.
Know how they composed their pictures, but do not fall into the conventions they established. These conventions were right for them, and they are wonderful. They made their language.
You make yours. They can help you. All the past can help you. By being now master of such as he has there is promise that he will be master in the future.
A work of art which inspires us comes from no quibbling or uncertain man. It is the manifest of a very positive nature in great enjoyment, and at the very moment the work was done. The brush stroke at the moment of contact carries inevitably the exact state of being of the artist at that exact moment into the work, and there it is, to be seen and read by those who can read such signs, and to be read later by the artist himself, with perhaps some surprise, as a revelation of himself.
For an artist to be interesting to us he must have been interesting to himself. He must have been capable of intense feeling, and capable of profound contemplation.
He who has contemplated has met with himself, is in a state to see into the realities beyond the surfaces of his subject.
Nature reveals to him, and, seeing and feeling intensely, he paints, and whether he wills it or not each brush stroke is an exact record of such as he was at the exact moment the stroke was made. He moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook, a box of oils with a few small panels, the fit of his pocket, or on his drawing pad. Like any hunter he hits or misses.
He is looking for what he loves, he tries to capture it. Those who are not hunters do not see these things. The hunter is learning to see and to understand—to enjoy. There are memories of days of this sort, of wonderful driftings in and out of the crowd, of seeing and thinking. Where are the sketches that were made? Some of them are in dusty piles, some turned out to be so good they got frames, some became motives for big pictures, which were either better or worse than the sketches, but they, or rather the states of being and understandings we had at the time of doing them all, are sifting through and leaving their impress on our whole work and life.
The better or more personal you are the less likely they are of acceptance.
A Favorite Book – “The Art Spirit” by Robert Henri
Just remember that the object of painting pictures is not simply to get them in exhibitions. It is all very fine to have your pictures hung, but you are painting for yourself, not for the jury. I had many years of rejections. Do some great work, Son! Try to paint canvases that will show how interesting landscape looks to you—your pleasure in the thing.
There are lots of people who can make sweet colors, nice tones, nice shapes of landscape, all done in nice broad and intelligent-looking brushwork.
The Art Spirit
Courbet showed in every work what a man he was, what a head and heart he had. All any man can hope to do is to add his fragment to the whole. No man can be final, but he can record his progress, and whatever he records is so much done in the thrashing out of the whole thing. What he leaves is so much for others to use as stones to step on or stones to avoid. He belongs to a great brotherhood, bears great kinship to his kind.
He takes and he gives. He benefits by taking and he benefits by giving.
They are the bonds of a great Brotherhood. Those who are of the Brotherhood know each other, and time and space cannot separate them. The Brotherhood is powerful. It has many members.Where are the sketches that were made? It is easier than going it alone.
And for all who continue to work on the same canvas let me suggest that your struggle throughout the week should be to perfect the beginning of your painting. You have to make up your mind to be alone in many ways. Show related SlideShares at end.
No man can be final, but he can record his progress, and whatever he records is so much done in the thrashing out of the whole thing. I have jotted down a few of his quotes for you to ponder. Those who are not hunters do not see these things. It is wonderful how much real finish can be obtained through them, how much of gesture and modeling can be obtained through their contours, what satisfactions can be obtained from their fine measures in area, color and value.