The inspirational work of Egon Schiele

The inspirational work of Egon Schiele, Stuart Bush Studio
Egon Schiele, Green Stockings, all copywrites remain with the artist

One of the artists that I found the most inspiring as a student was the inspirational work of Egon Schiele. At aged 16, Egon enrolled in the Vienna Academy of Fine Arts. He died at the young age of 28. In those few years, he made some of the most enduring and intriguing work. I am very interested in understanding what it is in Egon Schiele’s work that encouraged me to follow my interest in art.

Egon Schiele was known for drawing mainly portraits and self-portraits. He worked in a striking graphic style that challenged the notion of beauty. Egon had a concise way of working, similar to a poem to conveys rich experiences and emotions.

It would be easy to have a fleeting look at Egon drawings and mistake them to be only about sexual arousal or pornography, but that misses the intent and the reason why I am drawn to his work. Egon not only shows sex as beautiful, but he also demonstrates how he questions and adores life through his work.

Egon was a prolific artist making over 3000 works over his short life. There is satisfaction from the artistry, extracting something from the seductive delights of life. Each one has an intensity and beauty capturing our physical existence and our desperation in being a person.

Related links to the inspirational work of Egon Schiele

https://www.theartstory.org/artist-schiele-egon.htm

Egon showed a unique and anguished look at our situation. I enjoyed the cropping of the frame with low direct angles in his drawings. The tortuous crooked fingers and appendages ask questions about our function, design and purpose. Each artwork generating meaning in its own way I have really enjoyed returning to look again at the work of Egon Schiele. I understand why his work gave me a purpose to be an artist. Egon Schiele’s fact-finding mission to record evidence about what life really with anger, sexual frustration and bewilderment helps you to remember how you saw the world as a young adolescent. Creating a porthole to a greater understanding of the human condition and the beauty of life.

In Egon’s drawings, he cultivated his own unique view to add to deepen our understanding of life. I continue to find his work easy to identify with and through writing this, I have a better understanding of why I followed the path into becoming an artist.

Please share with me the artists that have given you direction, purpose and sense who you might become. I recommend you check out Egon Schiele’s if you haven’t already.

Related links to the inspirational work of Egon Schiele

https://www.egon-schiele.net

What I see in the work of Jeff Koons

 

I wish I could paint every day

Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush, Nobodies fault detail, I wish I could paint every day

I wish I could paint every day…

Every day I paint I have an adventure into the unknown.
 
Every day I am excited by the possibilities in the work.
 
Every day I paint I enjoy the production of novelty the most.
 
Every day I paint, I decide what I want to work on the night before.  My unconscious mind thinks and contemplates it overnight. The next day I effortlessly to know where to start.
 
Every day I paint I don’t make it overly complicated.
 
Every day I paint my studio has to be free from distractions so l can get into a creative flow and stay in it. I get completely caught up and saturated in what I am doing.  The painting leads the way, my hand and brush are in control rather than my brain.  I have a deep involvement with the activity and time becomes distorted.
 
Every day I paint, it is not clear what needs to be done. The solution is elusive and an accident. Only when I am in a flow of creativity, unconscious decision making takes place. I surprise myself and produce work I am happy with.
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush Nobodies fault detail, I wish I could paint every day
Every day I paint, I try to be satisfied when the work is complete. If I put unnecessary pressure and stress on myself and let my perfectionist outlook win, the results are never good enough to meet my standards.
 
Every day I paint I hope something good will come, but if it doesn’t I don’t worry. Whether it is good or bad, that really doesn’t matter.  When I finish, I always turn the work towards the wall and quickly move on to the next task.
 

Related post to Every day I paint;

Drawing the creative act
Every day I paint I consider the work from previous sessions and give myself feedback. This enables me to move forward. I have to decide which ideas can be developed and which direction to take and then l know what to work on during the next session.
 
Every day I paint I am unsure if I am getting anywhere.  Often I take one step forward, two steps sideways and one backwards.  Every little while I stop and look back. Over months and years rather than days I learn something new and l know l am growing as a painter and as a person.  
 
Every day I paint I am not interested in money and fame.  It’s the pursuit that counts, not the attainment.  I always enjoy and have fun within the process.
 
Every day I paint I work towards achieving something meaningful. My lifelong ambition is to make a significant contribution to culture.  In doing so, I hope to help the human condition. 
 
Every day I paint I love what I do. I love the process of making art more than the work I produce.
 
I wish I could paint every day.
 
Stuart Bush Studio, No bodies fault, I wish I could paint every day
©Stuart Bush, Nobodies fault, oil on board 70.2 x 50.4 x 3.6cm, I wish I could paint every day

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Places to go for inspiration

Stuart Bush Studio, the rush
©Stuart Bush The rush 2016 oil on board 50 x 70 cm
When I enter my studio I often have times when I need to be inspired.  No matter what l do l meet resistance. I walk around the room, or I sit feeling frustrated with a closed mind.  My mind doesn’t feel like being creative.  Fighting this situation never works. All that happens is that l waste the day. I have to get out.  I need to find a place to go to for inspiration.
 
Over time, l have learnt to embrace these moods and seek solace and inspiration elsewhere.  Near my studio, I have a lovely country walk.  Whatever the weather, I put my shoes on and head off.
 
While I am walking, I can consider all my unfinished business and jobs.  Then I begin looking at the things around me.  I try to move my mind to focus on my breathing and relax.  I notice the sounds of the birds, the footsteps in the gravel and the beauty of my surroundings.
 

A related post to the places to go for inspiration

The benefits of adversity

 
My primary objective is to cultivate a happy mind. I might sit down on a bench and watch people walk past. Or I might pop out a sketchbook and draw whatever comes into my mind.  If I don’t fancy a walk or if I return and my mood hasn’t shifted, I look through some of my art books.  I start sketching from what seems interesting.
 
If I’m feeling at a loss about where to start when that pencil hits the page just start by moving it. I start with anything from a circle to scribble.  Like a child, I try to create without judgement or expectations.
 
I see my job as an artist is to record what I see.  For this to work well, and to be able to translate what I see in a new unique way, good quality inspiration is essential. I try to visit the museums and galleries in London at least once a month.  I also look for opportunities for collaboration and to engage in useful and uplifting and stimulating discussions.  Sooner or later I return to the studio with inspiration for my next step.
 
Stuart Bush Studio, the rush, a form of confessional poetry, no bodies fault
Installation shot from Rugby Gallery exhibition, Stuart Bush Studio
 

Related links to the places to go for inspiration

 
 
 
 
I am very interested to hear how you become inspired.  Please comments below.

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What l see in the work of Jeff Koons

Jeff Koons, Play-Doh, Stuart Bush Studio Blog
Jeff Koons, Play-Doh (1994—2012) Newport Gallery All right reserved by the artist
 
It is easy to be impressed by the work of Jeff Koons. He has an impressive art career and has gained international success. Koons has developed a secure grip on the art market and he can make whatever he wants.  He often turns the popular; Michael Jackson with his pet monkey or scoops of Play-doh; into an expensive ceramic or stainless steel sculpture. 
 
Plus, Koons is not afraid to make work that could potentially alienate him. It is easy to sneer at his works based on topics like guilt and shame. After all, we are all bound by our own unconscious and conscious signals.  He openly encourages opinions on his art saying there is no right or wrong interpretation.  His art challenges the idea that art needs emotional depth and taste. Koons work, whether your ambivalent about it or not, it clearly reflects our age and society especially his gazing balls and balloon dog.
Jeff Koons Balloon Monkey, Stuart Bush Studio Blog
Jeff Koons, Balloon Monkey (Blue) 2006-2013 Newport Gallery All rights reserved by the artist
 
 
Jeff Koons describes Balloon Dog: “It’s very mythic. There’s a sense of the interior to the piece, which is a bit like a Trojan piece. It’s very now – it’s like a balloon from a birthday party, and because it’s inflated, you imagine the birthday party was recent, not 20 years ago. A normal membrane of a balloon from 20 years ago would be completely deflated. At the same time, there’s a mythic and ritualistic quality; you can imagine people going around Balloon Dog in a sort of dance. A tribalistic quality.”
 

What I see in Jeff Koons website link

http://www.jeffkoons.com
 
However, instead of just enjoying his work I am often distracted by the hype that surrounds it. He takes a couple of things from contemporary life that are somewhat one dimensional then puts them together to try to create a new meaning. They become carries or cyphers as Koons seeks to get you to think. Nevertheless, I feel his work lacks empathy and intellectual curiosity.  Once you understand the idea behind a piece of his art, there is no hidden depth.  For me, his wealth has become the spectacle and not for the right reason. 
Jeff Koons, Acrobat, Stuart Bush Studio blog
Jeff Koons, Balloon Monkey (Blue) 2006-2013 Newport Gallery All rights reserved by the artist
 
Koons has taken the idea of turning art into a business to a whole new level. He has developed a style of work that does not include the ‘original’ artistic hand. Instead, he employs specialist highly skilled artists and craftspeople to bring his concept to life while he focuses on micromanaging the output.
 
In doing so, Koons creates a new religion for art that celebrates the shallowness of capitalism and celebrity as his ego seeks to promote himself as the modern-day equivalent of the great artists of the past.  
 
Whether you like his work or not his art does come across as uplifting and joyful.  But I am sceptical about the broader intentions of such art. This leads me to find what he does and his unflinching confidence and self-belief admirable, while at the same time, disagreeable.
 

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Picasso paints want he knows rather what he sees

Picasso 1932 – Love, Fame, Tragedy, Tate Modern (8th March – 9th September)  
 
Installation view of The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy with Pablo Picasso’s Girl Before a Mirror (1932)  © Succession Picasso/DACS London, 2018
 
The subject of this exhibition ‘Picasso 1932 – Love, Fame, Tragedy,’ is the influence of love, fame and tragedy on Picasso’s painting over a one year period.  This year-long output is a rich visual diary which gives away a great deal about the artist; from his professional career to the way he worked and his personal life.  There are more the one hundred pieces of artwork, showing his entanglements with love and fame, his convolutions with colour and form, and his intricacies as the 20th century’s most influential artist.  
 
Using this review, I am seeking to unpick how a highly accomplished artist approached and explored form, colour and space in his work with the intention of helping me in my journey as an artist.
 
The Dream, 1932 Oil paint on canvas 1299 x 968mm Private Collection © Sussession Picasso/DACS London, 2018
 
The first room of this impressive exhibition starts in January and moves forward throughout a particularly special year in Picasso life.  Most of the work is referenced to a single day in 1932.   My first thoughts were how impressive his daily output was. It is hard to imagine working at such speed day after day and producing such high-quality work.  Picasso made his paintings feel like a grand and confident experiment.  He gave himself permission to trust his instincts and senses.  Rather than using direct observation, he preferred to work from memory, focusing beyond what he could see.  The result was an operation of his mind. Picasso said, “I paint objects as I think them, not as I see them.”

 

Related post to: Picasso paints what he knows rather than what he sees

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Picasso started each painting with a simple outline drawn on the canvas.  The free and loose drawings of curves, contours and form feel as if they spring from discovery. They give his paintings a visual rhythm and a harmony of fragmented structures. The abstract shapes work independently but at the same time together, as they each have a direct impact on the next form.  They all come together creating striking compositions, filled with movement.
 
In working this way, Picasso is always looking for a new way to read the world and express a new visual vocabulary. As my eyes wandered around his paintings l was amazed and intrigued by how effortless Picasso makes his beautiful pictures look.  The colours and forms of the painting respond to each other.  
 
The Rescue 1932 oil paint on canvas 1300 x 975 x 25mm Foundation Beyeler, Riehen/Basel, Sammlung Beyeler ©Succession Picasso/DACS London 2018
Picasso was interested in colour and had the intention to outshine his closet friend and rival Matisse in all areas.  After visiting ‘Matisse: The Cut-Out’, in 2014, and comparing the two artists work, in my view it is clear that Matisse had the upper hand when it came to colour. Picasso often used a joyful palette to create a warm and expressive ambience and at times with paintings like, ‘Seated Woman by a Window’,1932, Picasso’s use of colour creates dynamic energy and audacity of simplicity.  But to me, colour came second in Picasso work. It is not a fundamental part of his work; instead, it is often an afterthought.  
 

External links to review of this exhibition

 
Picasso creative genius lays not in the use of colour as an integral part of his work, but in his ability to understand and manipulate form. Picasso could view the structure from multiple directions, clearly shown in his cubist work, and combine these many viewpoints.  In capturing three-dimensional forms, in two-dimensional drawings, paintings and in his sculpture, Picasso clearly shows a highly advanced genius. His creative talent and mastery are distinctly evident in the subtleties of his advanced spatial awareness. Picasso plainly indicates he has the self-belief and confidence to push this as the dominant theme in his work and this is where he can outperform his friends and rivals.
 
Installation view of EY Exhibition: Picasso 1932 – Love, Fame, Tragedy with Pablo Picasso’s Nude Green Leaves and Bust ©Succession Picasso/DACS London 2018
I found the exhibition and following one year in the life of Picasso immensely successful.  It enabled me to consider what was going on in many parts of his life and how through evident self-confidence in his own abilities he was able to handle all that life threw at him. This exhibition will have a significant impact on my work. I see similarities in Picasso’s processes and topics that I can learn from.  I think the biggest take away for me from this exhibition is Picasso self-belief and confidence and how prolific and dedicated he was to his work. Picasso’s bristling energy unquestionably comes through.  
 
From the radical simplification of a form, you can see the building blocks of abstraction. He uses his artistic skills to the full to capture three-dimensional understanding.  Each shape seems to be the product of another shape.  Picasso said, “Cubism is neither a seed nor a foetus, but an art dealing primarily with forms, and when a form is reloaded it is there to live its own life.”
 
Installation view of The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy with Pablo Picasso’s The Three Dancers and Woman in the Garden ©Succession Picasso/DACS London 2018

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Review of All too human

Drawing, The creative act

©Stuart Bush, I’m not mad at all, oil paint on paper

Allowing freedom in the studio for creative exploration is essential. When I work on a plain sheet of paper or in my sketchbook, I seek to have an openness in my drawings that allows and embraces a large number of directions and options that can be pursued. A chain of evolution takes place in my pictures over an extended period of time and patience is essential. Working on and towards a finished piece too early can make the outcome contrived and often can leave me frustrated.

This explorative phase is more like a problem-creation stage than a problem-solving stage. I am looking to generate new ideas to stimulate my visual imagination and leaving space for creativity and ambiguity. I have often found that without this freeness, the development and exploratory of my thoughts are restricted, and the work comes to a dead end.

With creative freedom in my drawings, my insight and intuition give me an inkling of what to do next allowing me to focus on specific issues and open questions. I can then remove certain details and concentrate on the whole by copying and repeating to expand conceptual ideas and structures by following a hunch.  

Inspiration is an essential ingredient and can come from chaotic and imprecise work made with an open mind or by viewing another artist’s work or for me, by being inspired by the city. Accidents and chance can lead to seeing embedded ideas in a different way. The freeness leaves space to suggest moods and emotions and enhancing abstract concepts. I often feel the need to revisit unresolved ideas and expanding on them. Sometimes this leads to radical changes and often, exciting new artwork.

It is always important to remember that overworking can remove the essence, spirit, the actual original thoughts, and potential. The outcome is successful when the liberty and pleasure are still visible. After all seemingly effortless art signifies greatness and shows the way forward for an artist who can then capture what is immaterial into the material.

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©Stuart Bush, No exit, pen on paper 43 x 61 cm

How do I begin an artwork? What equipment, materials and techniques do I use?

 
 
©Stuart Bush, You don’t understand me part 1-4, 2015 gouache on paper – 

Beginning an artwork

My work starts with street photography. I wander the streets as a Flaneur.  Charles Baudelaire, the nineteenth-century poet described a Flaneur in his essay ‘The Painter of Modern Life’ as a stroller and loafer of the city streets observing modern life. Likewise, l wander around the city like a man of leisure as l try to take it all in. Following my intuition and hunches, I take pictures of what seems important to me. I look to capture that important element in the frame of my viewfinder, the essence of the importance of life.
 
The photographs I take allows me to record a rich visual diary. By having this source material I always have something to return to if inspiration is running low and I need to revisit my original ideas and intentions.
 
The next stage is in the studio with a blank sheet of paper or a blank page in my sketchbook. The main thing that happens in this first stage in the studio is reducing and simplifying the rich source l have gathered and extracting important elements to use. As well as painting and drawing, l sometimes print the photos to create collages or put layers together in a photoshop.
 
Things come together slowly, often my ideas and sketches don’t go anywhere at first. The next time I’m in the shower or going for a walk, or the next time I am in an art gallery I realise how I can use these snippets of life l have gathered! I then return to the original photographs and sketches and try to refine and develop my ideas.  
 
Often I come to dead end. Then l try to be patient and wait and allow ideas to develop. Allow my mind to bring ideas together. This normally happens when I am not particularly thinking about artwork, but when my mind is open and free to wander.
However, once l feel I am on to something, I look to develop a process and repeat the format in order to create a series of work. 
 
This is an ongoing and forever changing process.

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