Posts Tagged ‘Vincent Van Gogh’
October 2, 2014 | by Dan Piepenbring
Next month will come Ever Yours: The Essential Letters of Vincent van Gogh, which runs to nearly eight hundred pages and is frequently more absorbing, expansive, and instructive than a collection of letters ought to be. (He seldom seems to miss the forest for the trees, you could say.) As I thumbed through it, a passage leaped out at me from exactly 130 years ago—a letter van Gogh wrote to his younger brother, Theo, on October 2, 1884. It’s both Grade A existential grousing—were it not for the (faintly) uplifting conclusion, I could’ve believed that Thomas Bernhard wrote it—and, it seems to me, pretty sound advice.
Just slap something on it when you see a blank canvas staring at you with a sort of imbecility.
You don’t know how paralyzing it is, that stare from a blank canvas that says to the painter you can’t do anything. The canvas has an idiotic stare, and mesmerizes some painters so that they turn into idiots themselves.
Many painters are afraid of the blank canvas, but the blank canvas IS AFRAID of the truly passionate painter who dares—and who has once broken the spell of ‘you can’t.’
Life itself likewise always turns towards one an infinitely meaningless, discouraging, dispiriting blank side on which there is nothing, any more than on a blank canvas.
But however meaningless and vain, however dead life appears, the man of faith, of energy, of warmth, and who knows something, doesn’t let himself be fobbed off like that. He steps in and does something, and hangs on to that, in short, breaks, ‘violates’—they say.
Let them talk, those cold theologians.
June 5, 2014 | by Dan Piepenbring
- Now on display at a German museum: a replica of one of Van Gogh’s ears. (Hint: it’s not the one he didn’t cut off.) “Created using 3D printers and genetic material from a living relative of van Gogh, it was shaped to be the exact size of the Dutch painter’s ear and is kept alive in a nourishing liquid.”
- Yesterday’s usage wars were every bit as fraught and irrational as today’s: “‘Dilapidated’ was frowned upon by some because it comes from a Latin root, lapis, meaning stone, so it was thought that you should only refer to a dilapidated building if it was actually made out of stone … And it was considered that luncheon was the proper noun and that lunch was really only to be used as a verb.”
- What chemical compounds produce the smells of new and old books? Vinyl acetate ethylene, alkyl ketene dimer, and 2-ethyl hexanol, of course!
- Tales from New York’s bookstores: “One day a woman asked us which Jennifer Egan book she should read … We recommended Look at Me, and then suggested, ‘If you’d like it signed, Jennifer Egan is right next to you and is quite nice.’”
- Centralia, Pennsylvania: still on fire. Has been since at least ’62.
November 5, 2012 | by Sadie Stein
November 22, 2011 | by Anderson Tepper
The British author and artist John Berger (G., To the Wedding, Here Is Where We Meet, Ways of Seeing, Another Way of Telling) has for decades been writing books that are one of a kind: impassioned, big-hearted, politically engaged meditations on art and history, creativity and experience. Fluidly moving between fiction and essay, art criticism and memoir, Berger has emerged as a sort of Zen master of the written word. “Those who read or listen to our stories see everything as through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless,” he writes. “In our brief mortal lives, we are grinders of these lenses.” His new book, Bento’s Sketchbook, takes the life and work of the seventeeth-century philosopher Benedict “Bento” Spinoza—who earned his living, coincidentally, as a lens-grinder in Holland—as the inspiration for reflections on subjects ranging from ripe quetsch plums to Japanese Shoh paintbrushes and his Honda CBR 1100 motorcycle. I recently spoke to Berger by phone in France. Read More »