Art Book Quotes

I recently visited my local bookstore and picked up The Story of Art by E.H. Gombrich. I’ve yet to read it, but it did inspire me to search for quotes from famous art books.


“There really is no such thing as Art. There are only artists.” E.H. Gombrich, The Story of Art

“First you do everything possible to make sure your world is antibourgeois, that it defies bourgeois tastes, that it mystifies the mob, the public, that it outdistances the insensible middle-class multitudes by light-years of subtlety and intellect – and then having succeeded admirably, you ask with a sense of See-what-I-mean?” Tom Wolfe, The Painted Word

“The Painted Word hit the art world like a really bad, MSG-headache-producing, Chinese lunch” Rosalind E. Krauss, Partisan Review

“Oil painting, before anything else, was a celebration of private property. As an art-form it derived from the principle that you are what you have.” John Berger, Ways of Seeing

“Art needs motives that are more profound than profit if it is to maintain its difference from – and position above – other cultural forms.” Sarah Thornton, Seven Days in the Art World

“What does one prefer? An art that struggles to change the social contract, but fails? Or one that seeks to please and amuse, and succeeds?” Robert Hughes, The Shock of the New

“No matter what your age or your life path, whether making art is your career or your hobby or your dream, it is not too late or too egotistical or too selfish or too silly to work on your creativity.” Julia Cameron, The Artist’s Way

“Draw the art you want to see, start the business you want to run, play the music you want to hear, write the books you want to read, build the products you want to use – do the work you want to see done.” Austin Kleon, Steal Like an Artist: 10 things Nobody Told You About Being Creative


Outdoor Art Shows

With spring around the corner, it’s time to start thinking about outdoor art shows. Here are a few things to consider before taking part in one. They are a lot of work.


ABOVE: My booth at the Toronto Outdoor Art Exhibition

What you’ll need to prepare for the show:

  • 20-30 artworks.
  • Labels with prices for each piece.
  • Packing and hanging supplies.
  • A tent, weights, hanging grid, table and chair.
  • Business cards and a banner (with your name, medium and website).

What to expect when the show opens:

  • Expect the weather to be awful.
  • Expect to talk to a lot of people.
  • Expect to answer the same questions over and over again.

Things to think about:

  • Don’t worry too much about making sales or winning awards. They’re nice (and maybe the end goal), but when you’re starting out, you’re unlikely to get much of either.
  • Use the opportunity to network with other artists and to get used to talking about your work.

Things You’ll Need to Start Applying to Art Shows

While application requirements may differ from show to show, the following six things will allow you to start submitting to most venues immediately. Good luck!


ABOVE: My artwork at the McMichael Autumn Art Sale

Some venues may require less, but if you have everything below, you should be good to go:

  • A minimum of 10 artworks
  • Have each of the 10 artworks professionally photographed. If you don’t have a camera or tripod, hire someone who does
  • Artist Biography (100 words; written in the third person)
  • Artist Statement (no more than 1 page; written in the first person)
  • Artist CV (listing past group and solo shows, grants, awards, education)
  • Image list with title, materials, year made and size

A Letter From Vincent

Over the course of his life, Vincent van Gogh wrote many letters. Of them, 903 of them survive to this day, and can be seen in various galleries and museums around the world.



ABOVE: Letter to John Peter Russell, 1888, Reed pen and ink on wove paper, 8 x 10.4 inches, Solomon R. Guggenheim Museum, New York City

The surviving letters of Vincent van Gogh provide an interesting glimpse into his life and work. Here is one he wrote to his friend and painter Émile Bernard on Thursday, April 12, 1888:

My dear old Bernard,

Thanks for your kind letter and the croquis of your decoration included with it, which I find really amusing. I sometimes regret that I can’t decide to work more at home and from the imagination. Certainly — imagination is a capacity that must be developed, and only that enables us to create a more exalting and consoling nature than what just a glance at reality (which we perceive changing, passing quickly like lightning) allows us to perceive.

A starry sky, for example, well — it’s a thing that I’d like to try to do, just as in the daytime I’ll try to paint a green meadow studded with dandelions.

But how to arrive at that unless I decide to work at home and from the imagination? This, then, to criticize myself and to praise you.

At present I’m busy with the fruit trees in blossom: pink peach trees, yellow-white pear trees.I follow no system of brushwork at all; I hit the canvas with irregular strokes which I leave as they are, impastos, uncovered spots of canvas — corners here and there left inevitably unfinished — reworkings, roughnesses; well, I’m inclined to think that the result is sufficiently worrying and annoying not to please people with preconceived ideas about technique.

Here’s a croquis, by the way, the entrance to a Provençal orchard with its yellow reed fences, with its shelter (against the mistral), black cypresses, with its typical vegetables of various greens, yellow lettuces, onions and garlic and emerald leeks.

While always working directly on the spot, I try to capture the essence in the drawing — then I fill the spaces demarcated by the outlines (expressed or not) but felt in every case, likewise with simplified tints, in the sense that everything that will be earth will share the same purplish tint, that the whole sky will have a blue tonality, that the greenery will either be blue greens or yellow greens, deliberately exaggerating the yellow or blue values in that case. Anyway, my dear pal, no trompe l’oeil in any case. As for going to visit Aix, Marseille, Tangier, no fear; if I were to go there, though, it would be in search of cheaper lodgings, &c. Otherwise, I’m convinced that if I worked my whole life, couldn’t do as much as half of all that is characteristic of this town alone.

By the way, have seen bullfights in the arenas, or rather, simulated fights, seeing that the bulls were numerous but nobody was fighting them. But the crowd was magnificent, great multicoloured crowds. One on top of the other on 2, 3 tiers, with the effect of sun and shade and the shadow cast by the immense circle. Wish you bon voyage— handshake in thought, your friend


The Biggest Art Show to Come to Toronto in Years

Sometimes, a show comes around that is so popular, everyone wants in on the action. Yayoi Kusama: Infinity Mirrors appears to be that show. The buzz around it is insane.



ABOVE: Yayoi Kusama, Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013, wood, metal, glass mirrors, plastic, acrylic panel, rubber, LED lighting system, acrylic balls, and water, 113.25 x 163.5 x 163.5 inches

From the art of the Barnes Foundation, to the works of the Musée Picasso, I’ve seen some incredible exhibitions at the Art Gallery of Ontario. While they’ve often been well attended, they’re all likely to be eclipsed by Yayoi Kusama: Infinity Mirrors. The demand for this show is crazy. I’ve never seen anything like it.

Usually, I get tickets via my fiancé (who volunteers at the gallery), but for this exhibition, even they aren’t getting any. No, I’m going to have to go online when the next block of tickets becomes available, and if I’m lucky enough to get them, take time off work to visit the gallery on a weekday. Oh well, I’ve had a good run.

If you’re fortunate enough to have tickets to this, know that you are one of a lucky few. And please, don’t make this the only art show you visit this year.

Yayoi Kusama: Infinity Mirrors is at the Art Gallery of Ontario from March 3 to May 27, 2018.