[Above, vase of flowers by moderationsmuse, vase of flowers by Paul Cezanne]
I visited the museum today to draw. Actually it was my daughter's idea. She drew too. Haven't been there in a while, so it was interesting to reconnect with this once very extremely familiar place. I wasn't there long before visiting a favorite painting of mine by Paul Cezanne.
Some years back I made my own painting that is, in ways, indebted to it. Today I was drawing a small version of Cezanne's great painting, using Derwent drawing pencils (which are actually a form of dense pastel). When you copy a great master's image, you come close to his thoughts. It's rather like having a conversation with him. What you are copying is what he noticed and considered important. He is saying, "notice this, notice that." And a little contemplation of what has been eliminated from the picture, tells you also what he decided to ignore or subordinate. One finds out these lacunae by studying the same motif from life.
While we were there, we saw some copyists at work. One was taking pain-staking long spans of time and concentration to make the most cursory, initial lines of drawing after a Monet landscape of Camille outdoors holding a parasol. Monet had 85% of the painting finished in the time this woman spent carefully trying to sort out the drawing in a very pale ochre wash. If you're going to study old masters, you need to find out something of how they worked. If one isn't confident with drawing, it's better to just have at it anyway, make some mistakes and correct them later in the copy or in other pictures.
However, I don't wish to parody this copyist. She was doing the "traditional" thing. It was heartening to see. In the "art world" she would not be considered an artist at all, would be totally written off as an amateur and daubber. And perhaps she is. Her hesitance before the canvas was not encouraging. But it was delightful seeing her there trying out these gestures of painting.
"Serious" artists have been so frightened off these days by the shame that purportedly attaches to making museum copies, yet it was long the practice of artists -- great artists -- to copy. Rubens made copies of other artists works when in his 50s. Delacroix, Degas, Van Gogh, Matisse and Cezanne were all copyists. What experience have so many artists forsaken in abandoning this unique silent conversation with the past?
It's a timid artist, quite frankly, who is unwilling to go shoulder to shoulder with the great artists of the past. It's an avenue for learning, yes. But it's also a challenge. "Beat this," they say. Or try to equal it. Or come close. Or at least contend as well as you're able.
I really admired the pluck of the reluctant copyist I saw today. No, she is not a real artist most likely. But all that should bother the objective viewer is the fact that no "serious" artists were there to join her.
Well, take that back. One was. I was there with my notebook!
