Harry, I had not known about Otto Rogers before reading your essay. I’m now researching him, viewing video interviews he had given before he passed in 2019. After her retired from U Saskatchewan he was in Haifa with the Baha’i organization. Then he moved to PEC to be close to his family in Toronto. Were you able to reconnect with him in PEC because it’s not too far away from you? I see his influence in your art. He was such a fine painter. You were so fortunate to have him as your teacher/mentor when you were a student.
Oddly, he was never my teacher at the U of S, but regardless, he was an important influence on everyone who was part of that art department. I spoke with him a number of times, and I knew a lot about his teachings, and of course, his paintings were in lots of places at the U of S, and in Saskatoon in general. His son in law is an important architect who built him a gorgeous studio for his final years of painting here in Ontario. There was a wonderful video online where Otto Rogers speaks about that studio, and shows it off, but for some reason that video is no longer online. But it is showcased on the architect's website.
Sorry, I just assumed he had been your teacher because of the quality of your work, although not as abstract. I did notice his studio in one of the videos I watched. Beautiful and functional design. Do you remember the architect’s name?
I‘m one of you fans in IG. Very much enjoyed your article, I especially like getting to know a couple of Canadian artists. Very much enjoyed seeing Otto Roger, didn’t know him before. Wonderful work.
I deeply enjoyed reading your essay. Many of the works and artists you referenced are my favourites. I had not understood their relationship and use of the colour black. I’ve always noticed your use of the colour black or grey and now I know why. Thank you for this enlightening essay.
Harry, Thanks for this. One of the problems, if I can even call it that, both of these teachers were wonderful colorists in their own way; both well known and accepted artists. I guess I wasn't bold enough to go against their opinions. I remember trying it with each of them and getting strong reactions. Now I'm thinking of how much better an artist I might have been if I'd gone against the grain. I say this with a slight grin, but it may indeed be true.
Tell me the names of the artists, in private if you wish, and I'll search them, to see if they pass my test :) If their work is truly wonderful, sometimes you just have to say, well, their advice may be good advice in lots of cases....but not others.
The teacher against using black, was Jean Varda. He was a wonderful colorist who mostly made collages. At one time, he was part of the Big Sur group, which included Henry Miller and Anais Nin, who championed Varda. Varda said black was the color of the Devil. After this and for years, I was trepidatious about using black. The other precaution about using purple came from Richard Bowman. i remember his huge colorful paintings mostly using blues and yellows. For some reason, he was adamantly against using purple.
Dec 2, 2023·edited Dec 4, 2023Liked by Harry Stooshinoff
What a powerful piece on the power of black. There wasn't a painting in the entire group that I didn't respond to with enthusiasm. Early on, one of my teachers was strongly dismissive of black. His reaction, if anyone used it, was close to being violent. I didn't use black. This carried over into my work. I always mixed my blacks; never used it/them directly from the tube. Why didn't I question this, rebel? Another of my instructors had a similar aversion to purple. I listened to his advice, as well. At some point, I abandoned the "no purple" stance. Leaving behind the "Never black" was harder. I still mostly mix Payne's grey with other dark colors, or put other dark colors together. I regret it. Instuctors have a strong influence on impressionable young minds.
Damn those teachers, lol! I was lucky in that I didn't have any art teachers whose opinions I needed to rebel against. A useful thing is to always look at the work of the artist first. If the work of the artist doesn't hold up in your mind, over time, a lot of the advice they gave likely won't hold up either.
Thank you, Debra....I'm glad you enjoyed it!
Harry, I had not known about Otto Rogers before reading your essay. I’m now researching him, viewing video interviews he had given before he passed in 2019. After her retired from U Saskatchewan he was in Haifa with the Baha’i organization. Then he moved to PEC to be close to his family in Toronto. Were you able to reconnect with him in PEC because it’s not too far away from you? I see his influence in your art. He was such a fine painter. You were so fortunate to have him as your teacher/mentor when you were a student.
Oddly, he was never my teacher at the U of S, but regardless, he was an important influence on everyone who was part of that art department. I spoke with him a number of times, and I knew a lot about his teachings, and of course, his paintings were in lots of places at the U of S, and in Saskatoon in general. His son in law is an important architect who built him a gorgeous studio for his final years of painting here in Ontario. There was a wonderful video online where Otto Rogers speaks about that studio, and shows it off, but for some reason that video is no longer online. But it is showcased on the architect's website.
Sorry, I just assumed he had been your teacher because of the quality of your work, although not as abstract. I did notice his studio in one of the videos I watched. Beautiful and functional design. Do you remember the architect’s name?
https://hariripontarini.com/projects/artists-studio/ yes, it's here in the link. This is the most gorgeous artist studio I've ever seen.
Thank you. Isn’t it the most beautiful and inspiring studio! I’m familiar with the firm. Quality work, thoughtful design.
A wonderful collection of examples and artists! Thank you!
Thanks, Clint!
Hi Harry,
I‘m one of you fans in IG. Very much enjoyed your article, I especially like getting to know a couple of Canadian artists. Very much enjoyed seeing Otto Roger, didn’t know him before. Wonderful work.
Have a great Sunday and see you on IG.
Thank you, Eva! :)
I deeply enjoyed reading your essay. Many of the works and artists you referenced are my favourites. I had not understood their relationship and use of the colour black. I’ve always noticed your use of the colour black or grey and now I know why. Thank you for this enlightening essay.
Harry, Thanks for this. One of the problems, if I can even call it that, both of these teachers were wonderful colorists in their own way; both well known and accepted artists. I guess I wasn't bold enough to go against their opinions. I remember trying it with each of them and getting strong reactions. Now I'm thinking of how much better an artist I might have been if I'd gone against the grain. I say this with a slight grin, but it may indeed be true.
Tell me the names of the artists, in private if you wish, and I'll search them, to see if they pass my test :) If their work is truly wonderful, sometimes you just have to say, well, their advice may be good advice in lots of cases....but not others.
The teacher against using black, was Jean Varda. He was a wonderful colorist who mostly made collages. At one time, he was part of the Big Sur group, which included Henry Miller and Anais Nin, who championed Varda. Varda said black was the color of the Devil. After this and for years, I was trepidatious about using black. The other precaution about using purple came from Richard Bowman. i remember his huge colorful paintings mostly using blues and yellows. For some reason, he was adamantly against using purple.
Shirley Gaines
What a powerful piece on the power of black. There wasn't a painting in the entire group that I didn't respond to with enthusiasm. Early on, one of my teachers was strongly dismissive of black. His reaction, if anyone used it, was close to being violent. I didn't use black. This carried over into my work. I always mixed my blacks; never used it/them directly from the tube. Why didn't I question this, rebel? Another of my instructors had a similar aversion to purple. I listened to his advice, as well. At some point, I abandoned the "no purple" stance. Leaving behind the "Never black" was harder. I still mostly mix Payne's grey with other dark colors, or put other dark colors together. I regret it. Instuctors have a strong influence on impressionable young minds.
Shirley Gaines
Damn those teachers, lol! I was lucky in that I didn't have any art teachers whose opinions I needed to rebel against. A useful thing is to always look at the work of the artist first. If the work of the artist doesn't hold up in your mind, over time, a lot of the advice they gave likely won't hold up either.
Here is a link to the Otto Rogers studio designed by Siamak Hariri https://hariripontarini.com/projects/artists-studio/