Were you familiar with OTASCO? I was the manager of the catalog department. I was just wondering if we knew any of the same people. What about Jay O'Meilia? He's an artist who's still their. I received most of my training from him.

I don't recall the name Jay O'Meilia. I came across very few artists during my time there. Of course I was mainly involved in other pursuits so it was mostly my own fault.

I do remember OTASCO.

Jean:
I've just noticed this last paragraph. The first one is hearing and the last one is equilibrium, which I used all the time in my painting.

art and music
 

I'm fascinated by the relationship between music and painting.* To me it's more than just background music at the easel, I've read that*both playing and*listening to music, particularly*the works of great*composers*will improve*an artists (painters) skill.* Before I decided to study art I was planing on a career as a concert pianist, and I was delighted to find out that these two skills support eachother!

I was also happy to find that Sargent was an avid pianist. :thumbsup:

"Dear Sir,

In answer to your question about Sargent's "musicalness" permit me to jot down in a loose way the various impressions I received of this in the course of many years of my enjoying the privileged of his delightful and generous friendship. I met Mr. Sargent some 35 years ago after a Symphony Concert in Boston where I had played Lalo's "Symphonie Espagnole," a delightful work of which Sargent was very fond.

He came to the Artist room that evening and with that irresistible charm of his said a few words which made one rise in one's self esteem and then arranged for our meeting a few days later at dinner in a mutual friends house. On this delightful occasion Sargent played with me "en petit Comite'" the Symphonie Espagnole in which he revealed himself as the admirable musician which he innately was. He was quite amazing in accompanying The 3rd Movement ("Interme'de") a quite splendid piece of music with rather complicated rhythms in 5/8 time, which he played with complete musical and rhythmical understanding, verve and spirit. In his luminously intelligent manner he spoke of various characteristics of Spanish rhythms in music, quite in the manner in which M. Fdouard Lalo had expounded these intricacies to me in prior years.

That same evening we played the first Sonata by Gabriel Faur

Thanks Matthew, I appreciate that additional insight.

Thank you, Matthew, for posting that very insightful letter.

I can identify with the feel of the music's depths, movements, rushes and solemnity. It used to be that when I created, drew or painted I loved music in the background but found that my art was controlling me. I had to make a concious decision to control my art as best I could.

One of my choices in that pursuit was to abandon music while painting, especially a portrait. When 'art for art's sake' I will always have music as my companion.

John R.
The Knuckle Dragger

I use music in my studio to control my pace and energy. If I'm stretching canvas, framing, etc. the music is fast and loud.

If I'm painting (particularly if I'm working any part of the on the face or other critical area) the music has to be slow and quiet so I don't rush.

In drawing class, the type of music the instructor plays effects the texture of my work. This probably has to do with the speed of the music like Mrs. Rushworth pointed out. The music is usually a modern rock.
In private, however, listening to "Madame Butterfly" usually smoothens things out.

Who's Mrs. Rushworth? I thought you were talking about my mom!

*Blushes* my apologies.

I've been playing more classical music in the studio lately and have really noticed an increased feeling of "synesthesia."

The high violin notes are definitely a light blue grey (Gamblin Portland Grey Light, I suppose!) and the deep cello notes are burnt umber/alizarin crimson/burnt sienna. Clarinets produce a sound that is sometimes a medium blue green -- am I nuts (probably!) or do other people experience something similar?

Hi Michele,

No, you're nut nuts. Lots of artists have this same sensitivity. I see colors with many aromas, and sometimes I find that I can't use a body wash because it is too "sharp". Classical music is wonderful for this, I "see" the music swirling with different colors but have never tried nailing them down to the exact pigment that you seem to be able to do. A baritone sax is definitely "chocolate"!

Jean

Hmmm
 

Lately I've been dissatisfied with my room color... and now I realize it may be caused by the Electronic Bug Repeller. Then again it could be my guitar. Just kidding. Ever heard of String Theory? ( a theory of quantum gravity - http://superstringtheory.com/basics/basic4.html ) Could be that something similar to musical vibrations, their harmonics, could be responsible for different forms of matter. Yea, this is deep, but it would suggest, "Music is a symbol of God's order for the universe"... literally. So why shouldn't music touch us on our most basic level, and of course influence our art, mood, creativity... you name it. And if this were true, different colors would definitely have different vibrations or frequencies associated with it. Good composition, audible or visual, touch or smell, is something that touches us at our most basic level of existence. How that interacts with "Soul" I don't know. But it seems to me we would benefit from looking inward, exploring our feelings, our soul and deeper if possible. "Use the Force Luke"