PRINT March 1971

A Meditation on Painting

BECAUSE PAINTING, AS AN ART FORM among many, is hard-put to come up with enough pizazz, it is often deliberately omitted, in writing about painters, that almost every one is lifting devices from a repertoire and is employing them only in varying proportions, combinations, and intensities. I have compiled a list of painting devices, partial in both senses of the word, titled them for ready reference and referral, and, to the best of my ability, illustrated them. (The illustrations confine themselves to graphic, edge and over-under possibilities and are limited to portraying them in bands, although more complicated uses are certainly possible. The problems of shape—what kind and sizes of areas and where they’re put—and color are deserving of separate consideration.)

Paint is liquid in varying viscosities and by “painting” we usually mean the metamorphosis of this liquid from a state in which

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