A musician on painters
By Brenda Tremblay ~ Posted Sun, 03/16/2008 - 7:37pm
“The painter’s whole morality consists of keeping his brushes clean and getting up in the morning. He wakes up with the light, tosses till the sun is overhead, then gets up and starts moving around. He works moving around. Drawing, engraving, and water-color sketching can be done seated. But oil painting must be done on foot, walking back and forth. It entails no inconsiderable amount of mild physical exercise and that among turpentine fumes, which keeps the lungs open. Hence your painter is on the whole a healthy and cheerful man. His besetting maladies are digestive, due to poverty, irregular meals, and undernourishment. He requires a lot of food. In middle and later life he sometimes has rheumatism. But he is seldom too ill to paint.
As soon as the light goes bad his painting day is over. He thereupon refreshes his mind by making love to his model or by quarreling with his wife, and goes out. From four till midnight he is gay and companionable. After midnight he his disagreeable, because he knows he should be in bed. It is chiefly after midnight that he takes to alcohol, when he takes to it at all. He is a man of moderate habits, abundant physical energy, and a lively though not scholarly mind. (He doesn’t like to tire his eyes by sustained reading.) He has social charm, generosity (except about other painters), and a friendly indifference to music that is a constant refreshment for musicians. Unseduced by the mere charm of sounds, unimpressed by the ingenuities of musical workmanship and the triumphs of voluntary stylization, he goes straight to the heart of the matter when he goes in for music at all. He will sometimes tell you in five words what a piece is all about, a thing no musician ever knows and no music lover ever even tries to know.”
-- from "The State of Music" by Virgil Thompson