2864. And meanwhile I sit holed up in my studio for months and months slaving away, and that painter dashes something off, better than I can ever do and then probably waltzes of to the cafe where he sits having coffee with his artistic friends and talks about art, It just isn’t fair!
But when I got home there in my studio was my painting, sitting in mute
judgment of my way of working. I pondered this problem for many days,
and the question, how can a painting with no detail be better than a
painting with a lot of minute detail? And then all of a sudden it hit
The textures in the paint from the brush substitute for the details of
reality, and although a painting doesn’t have infinite detail, it does
have infinite texture and that is why it is visually satisfying.
2867. And this is the reason that I paintings like poor rivals in Paris do have been sandpapered and rubbed out with turpentine. It is so the image can resolve itself down into a satisfying complex visual texture, a very fine grainy surface. And that complex surface is a perfect substitute for accumulated detail. Because the slow accumulation of small details is a deadening process, which leads to lifeless pictures.