Hot off the press, four boxes full of brochures for the Kwan Fong exhibit arrived today, the first in a series of brochures for the California Lutheran University Art Gallery. I’m very pleased with the way they turned out. It’s a four page brochure with a centre page that’s designed to be pulled out and pinned up. If you’d like a copy, email me at pearce(at)clunet(dot)edu and I’ll post it to you. It’s not the same as the one we had for the opening reception which was only one sheet folded in half.
There will be brochures for all the shows this year with a bit of luck. I’m fortunate to get the first shot at it.
Publicity is incredibly important to the success of any undertaking, this is fundamental stuff.
Pre-Raphaelite Amanda came to the studio this afternoon and we spent a delightful time taking pictures of her as Justice. She was a wonderful model! We borrowed a robe from the University chapel for her costume; I thought Justice should be quite formal. The white robe caused us some tricky lighting issues, but nothing too major.
I know I promised painting today, but there was no way I could find the time to get started between the morning meeting of the Art Department and shooting photos. I got to capture images of Amanda as a muse in the seven virtues painting, and again as a simple allegory of love, tenderly holding a rose. It’s a bit sentimental, but I’m okay with that.
One day I’d like to do my own versions of the classic Pre-Raphaelite paintings, Millais’ Ophelia and Waterhouse’s Lady of Shallot, which were among my first loves as a young man looking at paintings. My father took me to the Tate on a visit to London when I was a child, then I saw the Homer when we visited Washington during a trip to visit our American cousins. It was wonderful to revisit the Tate National this summer and admire the collection of gorgeous Pre-Raphaelite paintings, especially Burne-Jones’ huge The Sleep of King Arthur in Avalon, which inspires me to make a really huge canvas.
I’m reading a biography of William Butler Yeats, the visionary poet who lived in the late nineteenth and early twentieth centuries. His father (J.B. Yeats) had a powerful influence upon him and lived a skeptical life. I enjoyed this paragraph not because I fully agree with the sentiment, but because it expresses the difficulty of balancing creative life with religion.
“There are two kinds of belief; the poetical and the religious. That of the poet comes when the man within has found some method or manner of thinking or arrangement of fact (such as is only possibly in dreams) by which to express and embody an absolute freedom, such that his whole inner and outer-self can expand in full satisfaction. In religious belief there is absent the consciousness of liberty. Religion is the denial of liberty. An enforced peace is set up among the warring feelings. By the help of something quite external, as for instance the fear of hell, some feelings are chained up and thrust into dungeons that some other feelings may hold sway, and all the ethical systems yet invented are a similar denial of liberty, that is why the true poet is neither moral nor religious.”
Richard Ellman,1948, Yeats – The Man and the Masks, Dutton, 20.