Response To The Artist's Mentor

Jackman Responses The first response is from pages 195-210 from Ian Jackman’s book, “The Artist’s Mentor.” Throughout these pages there are various quotes and examples of what it means and feels to be an artist. Jackman states that if you truly want to be an artist that you will do anything to try and create something. For example, Jackman uses a quote from Mary Frank, she sates “for me, the reason to do art is that it is compelling. Art is a drive, a very complex desire and need, urgency and pleasure” (196). He provides many quotes such as Mary Franks to show that “being an artist” is having the passion to create the art work. The second response is from pages: 13-25, 39-48, and 179-193 in Jackman’s book. Jackman writes and provide quotes …show more content…
In this chapter Jackman talks about how an artist “technique” starts and develops. Jackman talks about how artists’ techniques first starts when they are young, and take an art class, and then matures over time (67). He also talks about how many artist use different tools or objects when applying art, that different artists’ have different techniques. For example, when Jackman wrote that “as the drip method was to Pollock, dots were to Seurat” (75). Pollock and Seurat have different techniques that they use when creating their pieces of art. The fifth response id for pages 49-55 from Jackman’s book. In this chapter titled “The Artist at Work,” Jackman writes about what some artists do to help the create art. He writes that many artists like to hear music or like to be read to while they are in the process of making art (51). This helps them deal with the fact that they are always alone, and helps them think of new things. Artist’s don’t always know what they will create because their ideas can come at any moment, and sometimes at the most random …show more content…
In this chapter, “The Artists’ Eye,” Jackman writes about how many artists have different perspectives on different paintings. Many of artists’ when creating their works are thinking about how they will project their image. For example, when Jackman writes about how “Arthur Dove (1880-1946) would distil his vision of a landscape, first painting the object from nature, then having the object fade, a perfect example of the adapted role of the educated artists’ eye” (157). Dove was thinking about how he wanted his painting to look so he started with a basic concept and fixed it until it what he