​In reference to making art, I recently heard David Hockney say that, “craftsmanship is a must.”
From the Renaissance to the Abstract Expressionists art students began their apprenticeship by learning the craft of their chosen media.

“We can teach craft, it’s the poetry you cannot teach.” Hockney goes on to say, 
“Now we teach poetry and forget craft.” 

There is enough truth in that statement to make one stop and think. 

A Chinese philosopher proclaimed art is a matter of,
“the Hand, the Eye, and the Heart”. 
Many artists new and experienced alike, seem to shift back and forth from working primarily with the hand, the eye and the heart, rarely giving equal measure to all three.

When I look at the latest paintings in watercolor society shows I am more than impressed with the polished technique exhibited: skills of the hand and the eye. 
What I most thirst for, though, is to see the reason behind all the technical skills:
more heart and soul. 

I know  how challenging this is as I fight for a balance of ideas, feeling and form in every painting I do.  I have come to realize that in making art, usually one aspect (the hand, or eye or heart) is primary and the other aspects might be  missing in the process or have minimal influence.   

I think this is well worth giving  some thought...ask yourself...
Which of these do you primarily work with; the hand, the eye or the heart?
Do you start a painting aware which is going to primarily direct the process?
Which are you most comfortable working from: the Hand, the Eye or the Heart?
Do you resist letting one or another take the lead?
When you are most satisfied with the results of your work, what is the ratio of hand/eye/heart?
If you get stuck or a piece seems to fail, does it rely too much on one aspect at the expense of the others?
What if you tried switching it up...?

I know I shift between as I am working, but I do try to find a balance. Or at least a workable combination of hand/eye/heart.
I  believe when all three aspects work in a sort of equanimity the resulting  artwork has a stronger presence.
You know when you see it: the piece of artwork engages intellectually, moves you emotionally and the craft impresses or intrigues you.
It just works.

Have you read Hilary Spurling's two volume bio of Matisse ?

I highly recommend it. I love biographies of artists and creative people. The bio of Matisse is lengthy, but I found it a fascinating read. His long life spanned two world wars and a sea change in culture and the arts.

Anytime I read an artist's biography I take notes to see where their process might feel familiar, to see what I can take into the studio myself.

It is tempting, especially with someone like the immortal Henri Matisse, to think,
”This is it - they have it ALL FIGURED OUT. If I just do what they did, I’ll discover the BIG SECRET for myself!” But the lessons are so much more relevant if one can view their journey through the prism of one's own experience. That particular artist mastered the lessons of their lifetime in the context of their culture, their moment in history, their karma. Our journeys may share a few similarities as artists, but that is usually where any overlap end.

There is a lifetime’s worth of wisdom to glean from Matisse’s fearlessness and dedication to his own vision.
Here are a few nuggets that I saved to help me along my way.
 
TEN THINGS I LEARNED FROM HENRI MATISSE

1) Say more with less.
 
2) Say more with more.
 
3) Changing form is not artistic schizophrenia, it is creativity.
 
4) Try everything, but only keep what serves your vision. In other words, don’t follow a  popular style or material at the expense of your own authentic narrative.
 
5) Beauty isn’t always pretty
 
6) but, Pretty can be powerful when imbued with great feeling and originality.
 
7)Making creative choices and decisions is more important than just  depicting/describing something.

8) Any subject/object can be the starting point for making art.
 
9) Age is no excuse for laziness.
 
10) Find joy in the process.
 
That  last one  is a very important piece of wisdom.
Matisse worked in an almost relentless state of self-imposed pressure and anxiety. Sometimes the public loved the result, often it did not, at least in Matisse's lifetime. There are no guarantees of success when making art, so if there is any satisfaction to be had, it had better come in the creative process.

When I look at the carnival of color and apparent joie de vivre in Matisse’s work,
I wonder what a little dose of relaxation and joy might have done for him.
Would he have had the compulsive perseverance to push ahead in his work if he had "lightened up" a bit?  History's gain was his loss. He suffered insomnia, sickness, and  was plagued by constant anxiety while making his glorious art.

I guess I can rest assured that I am not rewriting the course of Art History, so I can afford to enjoy the ride. Any of us who have the opportunity in this life to make art are truly fortunate. To get all angsty about is seems so small and self-important, as if to throw the gift back to the gods.
​
​I hope that Matisse took some satisfaction in knowing that he was always true to his own vision. That is the the main thing I took from Matisse, and if I can say that, at the end of my days, I will feel like a real success.

 So, to Life, to Art, to Matisse! Enjoy!