|
Several decades ago I met an artist from South Africa, Val Hall, who had come to this country with her husband, John. We became friends and, when each family moved to a different part of the country, we remained in touch.
As I thought about my own work as an artist and my eyesight weakened, I ventured to write down my understanding of Visual Art, and decided to write the essays as personal letters to my fellow artist. These accumulated and became this book, which I now dedicate to my friend and correspondent, Val Hall. Through over a century “Modern Painting” has traveled a path of fashions. Some work was silly, some very fine indeed. By the “Grace of Art” we can surpass the world. Yet our reality is so loaded with events and sights that we may not surpass it all at once. But we can do so one part at a time. The liberty of shape design rendering solid form, and the lore of colors – as each alters and is altered by its neighbors, may give us such surpassing in a limited subject. I sought this good in my simple painting of a Red Cup in Plate 10 of Letter 3.  My Circle of Scholars seminars at Salve Regina University moved me to share my thinking on the art of our days with my friend Val Hall. J.v.G.
Janet von Gumppenberg Johannes' handwriting from a book-sized "Letter" sent to another friend in the 1990s:    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)    (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  (continued on next page)  |
| von Gumppenberg | Color and Composition |
|
|