"A growing chorus of economists is seeking to dislodge the editor of a top academic publication, the University of Chicago economist Harald Uhlig, after he criticized the Black Lives Matter organization on Twitter..."

"... and equated its members with 'flat earthers' over their embrace of calls to defund police departments.... Mr. Uhlig’s Twitter posts criticized demonstrators.... 'Look: I understand, that some out there still wish to go and protest and say #defundpolice and all kinds of stuff, while you are still young and responsibility does not matter,' Mr. Uhlig wrote. 'Enjoy! Express yourself! Just don’t break anything, ok? And be back by 8 pm.'... Mr. Uhlig, a 59-year-old German citizen, also faced scrutiny over past writings on his blog.... Those included a 2017 post in which he asked supporters of National Football League players kneeling to protest police brutality, 'Would you defend football players waving the confederate flag and dressing in Ku Klux Klan garb during the playing of the national anthem?' Mr. Uhlig also wrote a letter to the editor of The New York Times in 2016, complaining about calls for greater diversity in the motion picture industry at the Academy Awards. 'This whole "diversity = more American blacks in Hollywood movies" thing?' he wrote. 'So so strange. Really.' Janet L. Yellen, the former Federal Reserve chair, said in an email on Wednesday that 'the tweets and blog posts by Harald Uhlig are extremely troubling' and that 'it would be appropriate for the University of Chicago, which is the publisher of the Journal of Political Economy, to review Uhlig’s performance and suitability to continue as editor.'"

From "Economics, Dominated by White Men, Is Roiled by Black Lives Matter/The editor of a top academic journal faces calls to resign after criticizing protesters as 'flat earthers' for wanting to defund the police" (NYT).

ADDED: "Would you defend football players waving the confederate flag and dressing in Ku Klux Klan garb during the playing of the national anthem?" That's a perfectly phrased Socratic question, so let's raise a glass for Professor Uhlig.

"It was only natural for me to document my experience. I decided to map the four walls I was confined in and see where that took me creatively."

Said Gareth Fuller, quoted in "What happens when a map artist goes into quarantine" (CNN). Go to the link to see both his very elaborate artwork depicting cities and his cartoon-style mapping of his own little place. Both levels of art are good, and it resonates with me because it fits my favorite abstract category big and small.

"When I happen upon almost any image from one of the 'Simpsons' Instagram [accounts that post single frames from the show], I am struck by how absolutely visually gorgeous it is."

"This is, perhaps, especially true when it comes to @scenic_simpsons, with its visions of a violet car, its headlights on, cruising in a darkened parking lot full of silent vehicles; or an abstract thicket of trees, their tops as dense and foreboding as storm clouds; or a digital clock on a bedside table, its face glowing 7:59, next to an orange phone. Though they come to us via our hubbub-filled Instagram feeds, these stand-alone pictures are as quietly stunning as any made by our greatest American artists of alienation and loneliness, from Edward Hopper to Arthur Dove."

From "The Aesthetic Splendor of 'The Simpsons'" by Naomi Fry (in The New Yorker).

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A post shared by Scenic Simpsons (@scenic_simpsons) on Feb 16, 2020 at 6:59am PST

Did you miss your calling?

Dr. Seuss was a successful commercial artist when, at age 34, he wrote his first book, "And to Think That I Saw It on Mulberry Street." It was rejected by publishers dozens of times. He was in his late 40s when he began successfully writing and selling children’s books. He did this advertisement in the 1930s.

This past week I had conversations with two artists about the feasibility of being a full-time artist.

One is a woman with a young family, a mortgage, an MFA and a good (albeit temporary) job. Judging by the work I’ve seen, she has prodigious talent. If given the opportunity for a permanent position, should she take it? Or should she chuck that idea and try to work as a waitress nights and weekends so that she can still make art.

As a working mother, she is already doing two jobs. Adding a third job will be difficult, if not impossible. Until her kids are old enough for school, she’d be smart to do whatever pays best, and save money against the day she drops the day job and takes up painting again. In the meantime, she can carve out a small corner of her house and a few hours a week to nurture her talent, even if it’s by sketching in her spare time.

Anna Mary Robertson “Grandma” Moses, was the poster girl for late-life career changes, having turned to painting in her seventies. Here, Country Fair, 1950.

In essence, that’s what I did. I worked in the marketplace until I was in my late 30s, when a combination of life events made it possible—mandatory, even—for me to resume painting. (There was a time when our society acknowledged that raising children was valuable work. Now, childrearing is supposed to run silently in the background, taking no time or effort at all.)

One of my painting students has an MBA and work experience in an area of business analysis I won’t pretend to understand. She picked up brushes in response to a life crisis and in the process discovered that she has a real affinity for it.

On Saturday, we discussed what the next step might be for a person who wants to start selling paintings. As so often happens with these things, Life answered her question; she was approached about doing a solo show at a local venue.

Vincent Van Gogh didn't actually start painting until he was in his late 20s, when he only had a decade left to live. Most of his masterpieces were created in the last two years of his life. Wheat Field with Crows, 1890, is generally accepted to be his last painting.

That’s a tremendous affirmation, but as we old-timers know, a show is just a doorway through which you enter the next phase of your work. She still has a long, hard slog ahead of her, but she has the character to endure it.

Neither of these women will find it an easy road. But in both cases, I think they will find something very valuable comes from it.

Come to Maine and learn to paint before it’s too late. I have two openings left for my 2014 workshop in Belfast, ME. Information is available here.

The internet and art

The Romans kept their ancestor-geniuses in boxes. (Okay, they were actually shrines.) This one, from the House of the Vettii in Pompeii, shows two Lares (or guardian angels), flanking the household’s ancestor-genius.

When I went looking for Iván Ramos’ photos, it was very easy to come up with them, because he is practicing an open-source business model. When I went looking for Van Gogh paintings of an orchard on Tuesday, I had no problems, because Wikipaintings is open source.

Open source started off as a software development model, but has become more generalized. It means universal access through free licensing, and universal distribution, including subsequent iterations. For artists, it’s about sharing your process and it means not worrying too much about the low-res images of your work that are spinning around on the internet. (That’s not too difficult, since we sell paintings, not images of paintings.)

We keep our geniuses in different boxes: Wikipaintings, for one, which claimed to have 75,000 paintings on line as of June, 2012.

That’s pretty much the norm in my world of visual arts, where painters are happy to share process and images of their work. But it is not universal.

I would love to show my students how Andrew Wyeth set up his paintings. But the Wyeths are very protective of their intellectual property, so if you want to study them in breadth, you have to hie over to a museum that holds their work.

I would love to show you Jamie Wyeth’s Seven Deadly Sins, which uses seagulls as models. However, the Wyeths are very tight with their intellectual property, and so you’re unlikely to see the series on the internet. Here are some ravens in Maine instead, which aren’t out of copyright and which Wikipaintings displays under fair use principles.

What does this exposure do to the Cult of Genius that has elevated the artist since the 18th century? Hopefully, it destroys it forever, since the idea of the artist locked in his garret and thinking brilliant but ultimately solitary thoughts, is pretty terrible for the actual production of art.

Artists never worked in a vacuum.

Let me know if you’re interested in painting with me in Belfast, Maine in August, 2014 or in Rochester at any time. Click here for more information on my Maine workshops!

The Empress Dowager Cixi

A tinted photograph of the Empress Dowager Cixi, Regent of the Qing Dynasty. Her portraits included a painting given to Teddy Roosevelt as well as extensive photographs. 

My friend K Dee recently put together a photostream of portraits of women to “help me remember, in case I ever start to forget, which sort of female image I find reflects a healthy civil society, and which I do not.” Today we’ll look at the story of a remarkable woman who prospered by being more toxic than her society.

The Empress Dowager Cixi was born in Beijing in 1835, an unimportant daughter of a mid-level bureaucrat. At 16, she was one of sixty girls in a cattle-call to choose consorts for the new Xianfeng  Emperor. Cixi made the cut.

 Concubines of the Xianfeng Emperor fishing at a pond, 19th century. The figure at left is probably Cixi; the one at right is the Empress Ci'an.

Despite the plethora of women in his harem, the Emperor had trouble producing an heir. In 1856, Cixi gave birth to his only surviving son, Zaichun. This propelled her up through the harem ranks so that by the time Zaichun reached his first birthday, she ranked second only to the Empress.

Unusually, Cixi could read and write. This granted her unprecedented access to the Emperor and an informal education in how to govern.

In September 1860, British and French troops attacked Beijing and burned the Emperor's Old Summer Palace to the ground. The Emperor and his entourage fled Beijing. The Emperor turned to booze and drugs, became ill, and died.

Portrait of Empress Dowager Ci'an (co-regent with Cixi). Since Ci’an was an Empress and Cixi a lowly concubine, Ci’an had precedence, but this was a matter of formality, not fact. Her portrait corresponds with descriptions of her as good-natured and naive. 

An eight-member Regency ruled on behalf of his heir, who was then five years old. Balancing the Regents’ power were the former empress, the Dowager Empress Ci’an, and the former concubine, the Dowager Empress Cixi.

The Dowager Empress Ci’an was good-natured and naïve: the perfect tool for the former concubine. The situation was inherently unstable, and at the correct moment, Cixi staged a coup with the support of a coterie of princes. To demonstrate her compassion, Cixi executed only three of the eight Regents, eschewed torturing them, and refused to execute the ministers’ families.

Ruling from “behind the curtain,” Cixi issued an Imperial Edict on behalf of the young Emperor stating that the two Empresses Dowager were to be the sole decision makers “without interference.”  Her partner being malleable, Cixi had absolute control of the Chinese state by the mid-1860s.

Portrait of Empress Jiashun, Cixi’s daughter-in-law. It is speculated that Cixi poisoned her when she was pregnant with an heir to Cixi’s dead son.

In 1872, the Emperor turned 17 and was married to the Empress Jiashun. The relationship between Cixi and the new Empress was fraught. “I am a principal consort, having been carried through the front gate with pomp and circumstance, as mandated by our ancestors. Empress Dowager Cixi was a concubine, and entered our household through a side gate,” the new Empress said.

Foolish girl. Cixi ordered the couple to separate. The young Emperor—a man of weak intellect and weak character—began to act out his sexual desires in the brothels of Beijing. He contracted syphilis and died at the age of 19. His young pregnant Empress followed him into the grave a few months later, perhaps at Cixi’s hand. They left no heir. After considerable uproar, Cixi’s four-year-old nephew was tapped to become the next Emperor.

The Empress Dowager Ci'an died suddenly in 1881; rumors swirled that Cixi had poisoned Ci’an. Now the sole Regent, Cixi maintained her iron grip on power even after the new Emperor reached his majority and began to reign as the Guangxu Emperor.

As he grew into his role, the Guangxu Emperor began flexing his muscles, initiating a series of modernizing reforms. These particularly displeased Cixi because they would have checked her power. Once more, the Empress Dowager Cixi took over. The Emperor was never formally removed from the throne, but he was a powerless puppet from then on.

The Guangxu Emperor died suddenly on November 14, 1908. The Empress Dowager installed a new child emperor on the throne and promptly keeled over herself. Turns out that the Guangxu Emperor was poisoned; modern forensic testing shows he had arsenic levels 2000 times greater than normal. It appears that, knowing she was dying, the Empress Dowager’s last act was to prevent him from ever taking power in China.

In 1912, the child emperor Puyi abdicated, ending over 2000 years of imperial China and beginning a long period of instability that would result in the Chinese Civil War.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!

Back to the studio

There were visitors to the gallery all evening long. The show is up until April 11.

You can be the belle of the ball on Friday night, but you’re still a painting teacher on Saturday morning. It was a great opening with a fabulous turnout, and lots of insightful questions. There were crowds until 10 PM, at which time I stumbled home to bed, because Saturday mornings are always a rush.

Teressa's been drawing on and off with me for a few years, but she finally bit the bullet and did her first painting this weekend.

Painting classes, I’ve noticed, are split between two populations. There are the forty- and fifty-somethings who always wanted to paint but never had time, and young people from their mid-teens to mid-twenties. This makes for a nice mix of people in the studio, but it also tells us something about our times. Nobody in the prime working years has time. They’re running flat out. Between grasping the brass ring and raising children, everything else takes a back seat.

My own Mary, who's a talented artist but majoring in biomedical engineering, graced my studio with her presence. I am afraid I will have to ask her for some lessons in drawing with a tablet one of these days.

It’s kind of a pity that we’re so frenetically busy from our mid-twenties to our mid-forties. The time to be reflective shouldn’t be a luxury of the old and the young.

So it's back to business as usual, but I'll have the flowers to remind me of a wonderful evening. Thanks, guys!

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!