Painting & music

[John Reidy]

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.

[Mike McCarty]

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.

[SB Wang]

Originally Posted by Jean Kelly

Back to one of Scubert's riddles. How many senses
are there and which was the first? Answer, all of them!
jean

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.

[Matthew Severson]

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.

"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

[Mike McCarty]

Thanks Matthew, I appreciate that additional insight.

[John Reidy]

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

[Michele Rushworth]

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.

[Matthew Severson]

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.

[Michele Rushworth]

...the speed of the music like Mrs. Rushworth pointed out.

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

[Matthew Severson]

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

*Blushes* my apologies.