There have been periods throughout history when cultural aficionados of the time proclaimed that painting was dead! Yet, the artform has risen over and over again. What is it about painting that makes it so timeless and gives it the ability to continuously evolve? Why, after centuries, can we still be awestruck by the right combination of brushstokes?
Art critic Martin Gayford has interviewed many artists over his lifetime about their craft. His books explore painting through a multitude of eras and even gives a personal account of what it’s like to sit for a painting in Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud. His latest book, How Painting Happens (and why it matters), compiles wisdom from numerous artists past and present.
Martin and Greg discuss the challenges of writing about a non-linguistic medium like painting, the unique, often physical process of painting, and insights Martin has gleaned from his conversations with contemporary artists, including what makes a painting a great one.
*unSILOed Podcast is produced by University FM.*
Episode Quotes:
The silent intensity of painting
16:13: You don't have to talk or put things in words to think. There is such a thing as physical thinking, and painting is probably a very good example of that. That was one of the points that struck me when I was posing for Lucian Freud, which I—was a very long, drawn-out process. As you can imagine, it took about 18 months to produce two paintings. And Lucian was very slow, but it wasn't that he was painting all the time very slowly. Most of the time in a sitting, he'd spend thinking, looking. And then, after quite a while, and mixing up the paints and contemplating the situation—looking at me, looking at the painting—then he'd dart forward and put a stroke on, quite fast actually. But probably 95% of the time, he wasn't doing that. He was considering the situation.
Why we still need painting in a world of screens
42:43: It's arguable that, therefore, paintings, sculptures, unique works of art are what we need now. 'Cause they're the opposite of phones and screens and endless deluge of imagery and distraction, which the modern world offers us. A painting is—if it's good enough—it's something you can just look at for the rest of your life, and if it's really good enough, it'll carry on being rewarding.
Painting as a language without words
02:02: Painting or visual art isn't exactly a language. It's certainly not a verbal language, but it's a means of communication. And as such, it doesn't necessarily neatly translate into words.
How artists reshape art history to suit themselves
39:37: Although artists—practicing artists, rather—may have tremendous insights, and the insights of a kind which nobody else has access to, they're going to see art history and the art, the work of all other artists, from the point of view of their own art. And they'll be utterly out of sympathy, therefore, with quite large sections of the art of the past and of the present. To an extent, that's true with critics. They'll have certain idioms, certain styles, certain media they like more than others. But a critic can be a little bit less prejudiced. Oh, I'd like to think critics can be a bit more open-minded about what they're looking at. An artist will pretty well instinctively refashion the whole of art history so that it leads up to what they're doing today in their studio. But we don't all have to do that.
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unSILOed with Greg LaBlanc 
