Reflections On Arts

Bui Xuan Phai (1920-1988)


This notebook was written in those moments when I stopped painting or was taking a rest from painting.

I do not think that painting diligently but mindlessly is necessarily a good thing; for apart from painting, you need to think frequently about Art — a path that is often plagued with difficulties but is ultimately a beautiful one.

In addition, I think one needs to read books and learn from paintings by all of the Masters (~f available) so as to elevate one’s vision, so that one can distinguish between the highs and the lows, between the gold and the brass.

Art is indeed rich. Real appreciation, real appraisal requires the viewer to have reached a certain benchmark. It requires much learning.
 

1. 1 believe that Modem Art is not yet fully formed in Vietnam

I'm saddened to see that certain paintings are called “modern” without carrying any intrinsic artistic value. I believe that there is such a things as false Modem Art, just as I believe that people who paint bad portrait are merely forging “Classical Art”.

I often complain to Nguyen Sang that it is these premature modern artists who cause many people to misjudge Modem Art as something of a con.

In forming a conception about modern paintings, we cannot be lax. Laxity is something we need to avoid in Art. It lacks depth and strength. It is not enough to evoke feelings in the viewers.
 

2. When a painting is finished, I feel it is already “old”. It seems as if I want to paint it in a “better' way. in a more fluid or less fluid way. Whatever, as long as it is “better” as a result of the change.
 

3. Picasso often painted a theme repeatedly until it was extremely beautiful, extremely “ripe”. Extraordinarily fluid. He had a sensitive vision and a skilful hand. May be those two elements are but one.
 

4. As for us, very often we know it, we know something is beautiful or ugly but we cannot achieve the effect. Is that because of a lack of skill or is that because our physical ability just cannot match our emotional desire?
 

5. Search for Beauty in nature, understand nature thoroughly in order to see its essence. To paint fictitiously means you are becoming shallow and sloppy.
 

6. Looking at Picasso’s sketches of a bull or a horse, we realise that he knew his subject so well by heart, for brief as they were, these sketches were still so real.
 

7. Lean on nature to make your painting. If you only recited what’s in nature, your work bears no creative significance. A camera does that job so much better.
 

8. Unfortunately, viewers cannot distinguish between research painting, mechanical painting, photographic painting and artistic — creative painting. The true meaning of Art is Creation — to create something NEW — something BEAUTIFUL.
 

9. More and more, Art is moving away from reality because of the fear of bearing a resemblance to photographs. Photographs record reality readily and accurately. An artist uses the mind and the emotion to analyse reality and transfer the findings to the mental facility which relates to Art (artistic imagination).

 

20. To paint with or without models? That depends upon the painter’s point of view. If you are painting in the classical, impressionist, realist... etc styles then invariably you will need a model. But you should not be overtly dependent upon the model. Certain facets of Beauty cannot be captured by the model. Thus the presence of a model is not always necessary.
 

21. You need to be professional in order to be good. But being professional without being seen to be professional is what needed in order to be fluid, free (in your painting).
 

22. Don’t place undue importance on “appearance” but do try to make the “appearance” of your work one of Art, of emotional inspiration.
 

23. It seems that Art ( with all its special meaning) is something mysterious, achievable for some and beyond the reach of others whose very best efforts still only lead them to mediocrity.
 

24. Think a lot, note down a lot, have a sure hold on all the facts about life. Don’t do anything that is shallow, cheap. Whether Beauty has been captured or not, only the eyes of the painter can see.
 

25. I put Art first. To make an appealing painting is the foremost responsibility (of an artist); of course, that “appeal” must be something of benefits to people (there exists certain “useless” kinds of appeal, but we won’t paint those).
 

26. Is painting an easy or difficult task? Depending on the concept. Painting according to someone else’s concept — a concept that is different from your own — is really difficult. Painting in an irresponsible manner is easy.
 

27. Don’t be afraid to re-work certain things over and over again to find a certain something that will lift you to a higher level. Don’t be satisfied with a laxly done work. It is the best in you that entices the public (I’m not talking about the section of the public with lower standards.)
 

28. Painting a portrait must first of all be an artistic, rather than a likeness-driven task. It’s not about trying to paint accurately, realistically... But what is realistic anyway? It must be realistic in accordance with the painter’s concept, not the viewer’s.
 

29. Sketches or portraits must be fluid and free-flowing and all the while, still capturing the artistic essence. The art of painting a portrait requires a combination of thorough and sharp observation of the physical appearance of people together with a pictorial inspiration in order to form a work of art. Don’t be satisfied when you are yet to understand, to capture the essence of the person being painted. The portrait need not be “realistic” but it must reveal, it may not be “realistic” but may still be definitive and there you have a satisfactory portrait!
 

Don’t be restricted - don’t worry about the lack of resemblance....Don’t be timid. If it does not work, throw it away, it doesn’t matter. The more you paint, the more experience you gather. It is sad when a painter does not realise at which level he has succeeded or failed. It’s necessary to work very seriously but comfortably.
 

40. Having painted many, you will realise which of your paintings were touched by Beauty. Think carefully when looking at your own works and separate out thos’e that are beautiful and those that are not.

Once a painting is acceptable or is beautiful (in the whole), don’t try to fix it any longer because you may push it toward Ugliness. Lifting it up to a higher level is a good thing but be careful because what you are doing may effectively push it down rather than elevate it.
 

41. Repairing a painting is very risky and difficult. It is very easy to lose its togetherness, in many cases the painting pretty much needs to be completely redone or repainted in order for it to be saved. So he careful!
 

42. Materials play an important role in Art. Lacking good materials, equipment, the artist will be restricted. He cannot do as he wishes, cannot elevate his works. Using materials of low quality means that the works are prone to damage, affecting the enjoyment of the viewers.

43. 1. Research, gather information

2. Prepare the vehicle for expression

Of course for the first step, there are many methods. Certain people only need memory, others have many sketches, still others who paint in front of the live model.

No matter, as long as the painting is artistic and meaningful. There should be no laziness, sloppiness or laxity in Art.
 

44. A liking for experiments is a good thing but don’t experiment in a circle, don’t experiment in order to find regressive, outdated things. Experiment to find new appeal, new forms of Beauty.
 

45. Yes, the naivety, the artlessness in painting is really easy and yet, really difficult (to achieve). False artlessness is just so tiresome. Paint with a sincere and free spirit. Don’t resemble a scholar, a teacher, a student with his homework or a commissioned worker while you paint... No, paint freely, if it does not work then rub it out, throw it away. If it is quite good then hang on to it.
 

46. Don’t think often about being better or worse (than someone) in Art. Similarly when you are painting, thinking in this manner is rather pointless.
 

47. Simple things sometimes come instantly to you and sometimes they don’t; only because the artist cannot see them. Painting away so diligently and yet when finally you just want something simple (don’t mistake this with something simplistic), you can no longer see it.
 

48. The level of success of a painting does not depend on whether you have spent a little or a lot of time on it. It depends on the painter. But it’s not acceptable to feel impatient or rushing to finish when you are engaged in a work of Art. Those of us with a professional conscience cannot accept negligence or sloppiness.
 

49. You must accept that there are many difficult things in Art- very difficult things. When you feel that Art is easy is when you are going along a well worn path, re-doing familiar, old things and you are lacking in thoughts, in searching, in research...

 

60. If writing shows a person then so does painting, whatever your are, your painting will be. if you are intentionally trying to mimic someone else, your painting will only be a fake. You must paint with sincerity. Don’t pretend, don’t borrow in order to hide your own.., inadequacies. It is sometimes the case that someone goes on faking something mediocre while leaving good things of his own unexplored. How regrettable!
 

61. Work scientifically in order to avoid any preventable mistakes. Don’t, for example, let the house burn down before learning a lesson in fire prevention.

Even with the smallest tasks, learn to perfect the task, learn to do it in the best way possible, for example, how to stretch the material to prepare a canvas etc... Is there any specific technique required so that we have a beautiful, proper canvas for painting? Simple things like that help to ignite your enthusiasm whilst painting.
 

 62 Keep on painting. If you succeed, well you succeed, if you fail, then so be it. Paint another one and yet another one. Painting is just a desire to fulfil your feelings for pictorial Beauty. If you paint with the aim of making money then you are distancing yourself from artistic Beauty and heading instead towards a Beauty that is only ... mediocre. Unfortunately, this sort of “Beauty” tends to be popular with the mediocre sort of public. Those people tend to have money to spare so that the painters with a skilful hand tend to be the ones who can easily make money. An art work need only be smoothly done, clearly constructed, skilfully executed, fresh in colours and pretty

The theme tends to be somewhere along a well-trodden path and so are the techniques. On the other hand, the viewers’ knowledge and their appreciation of the paintings are both somewhat lax, the viewers are afraid of the new and unfamiliar with any discoveries and so only ask for an “old” kind of Beauty, for something they are accustomed to.

No, the artist of the new era will not follow an old path in such manner! They throw themselves into the things that are modern and new despite the mistakes, the difficulties, the dangers. They represent the new talents we rarely encounter in everyday life.
 

63 Of course Art is a rich field, pictorial Art in particular — don’t delve too much into the beautiful features found in an exterior. It is advisable to go with an exterior that carries some substance, to follow a painting style that’s most appropriate for your spirit and your ability.
 

64 Don’t play tricks in Art — you will turn it into a mediocre sleight of hand; if you want it to reveal your true self, just follow your own choosing.
 

70. Don’t regret the time spent on a single painting. The more time you invested, the longer the audience can spend viewing the painting.
 

71. The difficult thing is to be able to paint in whatever the circumstances. No oil-paints? Stop doing oil paintings, my friend. Lacking gouache? Well, give up painting in gouache. Surely paper and charcoal or ink pens are rarely unavailable. Don’t go on blaming this or that so that you can stop painting. Everything depends on the artist alone.

The most dangerous thing is that the desire to paint no longer exists.
 

72. Don’t force an artist to work. And why should he need forcing? If he no longer wishes to work then he already wants to abandon his craft. He no longer deserves to be called an artist.
 

73. While you paint, Beauty comes but fleetingly. Sometimes it comes as fast as a flash of lightning. You must be sensitive so that your vision remains sharp, so that you can detect, can control your moves and Can be fully aware of when to stop. Be knowledgeable so that you are fair in your judgement. It is usually the case that you imagine yourself to be good!
 

74. Let’s paint! Paint so that you can see your own weaknesses. Don’thide them. You are painting most effectively if you are learning something new while doing it. Mediocrity is a sad thing. Painting is not for showing your talent and the more you wish to exhibit your talent, the closer you get to mediocrity.
 

75. Those centuries that have gone have been painted. The current centuries are being painted and the future centuries will be painted. And so the act of painting will go on. The significant thing is that Art will forge ahead relentlessly. Each era has its own Art. The human race will always want to reach towards the newest, the most beautiful.
 

76. How beautiful is a messy studio (unfortunately I do not have one at the moment)*. Whenever my studio is clean and tidy, it is the time when I’m being lazy.
 

77. Pay attention to the issue of an artist’s talent. It is quite conceivable that a person is lacking in talent but works hard to improve and is quite professional (to say that (someone) is professional does not equate to offering significant praise). To analyse an artist’s talent is a rather complex task, it is something inborn,it is also something to do with training. It can be compared with the special charm of a beautiful woman.
 

78. I feel that a critic must have great knowledge and a sensitive soul. He may not know how to paint but he is very skilful in viewing paintings (just as a gourmet appreciaThs food greatly but may not know how to cook) so that he can be a reliable guide (for the public)
 

79. A true critic does not work for fame or material benefits, does not let money or power control him. Discovering talent before his colleagues, such critics are indeed Masters.

 

90. I think you must be unbiased about Art, it is not right to reject some paintings just because you don’t like the artist if those paintings are truly beautiful.
 

91. No matter whether it is a praise or a criticism, it must be passionate, well-meaning and finally, knowledgeable. Without knowledge and expertise, it is all too easy to form a praise or criticism with no basis but one’s inadequate understanding and the critique, in such a case, will have no value whatsoever.
 

92. An artist tends to ponder over his works when it is praised or criticised. But who did the praising or criticising? That’s the point that requires some thought. Don’t be smug over a transient praise. The future will rid itself of the materialistic opportunists.
 

93. People like to collect the works of someone famous, that’s the right thing to do because the works must have some appeal for them to justify the fame and demand amongst the collectors. But be aware, there are names that will be famous only for a while and then fade away, becoming dimmer and dimmer until the time arrives when nobody mentions them or collects their works any more.
 

94. The public tends to feel uneasy when something new is born. Nevertheless, when that new thing becomes more familiar, they really enjoy it. An artist creates for life itself rather than for the tastes of the public; if the public gradually comes to enjoy his work then that would suit his true wishes just fine. Any temporary oblivion or criticism may not have been justified.
 

95. A person’s character will be reflected in his taste for paintings (the bourgeois will seek out the bourgeois kind of paintings). Thus certain paintings will be popular with some while hated by others. Sometimes there are great artists who manage to demand recognition from life because after all, people still like to show a little fairness! People with a profound understanding of Art are often those who will discover talent and bring to the public’s attention a just evaluation.
 

96. In a lifetime of artistic endeavours, we may encounter so many knotty problems. Sometimes they are irritating in the extreme.

To witness a bad painting, glorified by an expensive frame, given an important space in an exhibition and fetching a high price! A boastful untalented person! A nouveau-riche pretends to be knowledgeable! A stingy, miserly man who values money above honour! Etc.. .etc There’s little point in getting annoyed, laughter may well be a more suitable antidote!
 

97. In Art, to distinguish between the good and the bad, the beautiful and the ugly is such a difficult thing, particularly where new trends are concerned. Perhaps the viewer needs a special flair in order to perceive it? People tend to rely on old habits when viewing and consequently, they are very much confused and blinded when faced with something new.
 

98. As for those of you who collect, view or attempt to appreciate paintings.., if you are indeed guided by money, by the need to ape other people, you will not be capable of understanding anything truly beautiful, truly fresh. You will only be able to comprehend the things which are old and backward which resonate with your old and backward sentiments.
 

99. Don’t be seduced by money into selling paintings which you are not satisfied with, it’s damaging, the many bad paintings you have left behind will overwhelm the beautiful works you have produced. Alas! How can you make enough to live on if “unfortunately” you are carrying the burdens of a large family on your shoulders? Sometimes we do need to make money, but in what manner shall we make it so that it is pardonable*?

The need for money? The need for Art? Having to put one above the other? Then put Art first!

 

110. Have a passion for painting, keep the flame burning, it’s lethal if it dies out. Painting is living, is breathing. Tomorrow will differ from today. Art without changes is Art without a new vitality.
 

111. Don’t be satisfied too early while painting. The more your paint, the more likely you will be to discover fascinating new things, with so much more appeal than that which you previously encountered, but many times you will fail.
 

112. I love blank canvasses. Ah, they are so full of hope. They hold the promise of something.
 

113. We need to have many talented people. The talented people must be in the majority. Only then will the mediocre “force” lack the power to push aside the good things. It is a regrettable thing when these good things find it hard to prosper.
 

114. Oh, schools?They are necessary, to a certain extent, in the beginning. Nevertheless, it is advisable to forget the things you have learnt at school in order to fly higher.
 

115. How far can you go with skilful hands? Towards making a good living? Or towards a higher level of art? Be careful! My friend with the skilful hands, how much longer will you go on practising, how much more skilful do you want to get? Haven’t you got enough money?
 

116. An artist’s lifetime is often not very long, it seems to me that the majority of artists do not live long (Toulouse Lautrec, Modigliani ...) In Vietnam, the life of a painter is not long and the productive period is spent rather insignificantly. It is not related to producing creative works. The majority of Vietnamese artists did not leave a large number of works behind (To Ngoc Van for example) — that is a rather sad fact!
 

117. I think time flies by fastest when I am painting fervently. In those instances, I want it to slow down, really slow down so that I don’t have to stop painting.
 

118. Some ridiculous occurrences: Those without talent swagger about, more proud than those with! Those who are idle assume the same of everyone else! The talkative people paint little because most of their time is occupied with talk. Sometimes they don’t even have enough time for... talking!

If you are talking of interesting things but talk so much that your audience is sick with it, that’s already a bad thing. So is it not a form of punishment to pile tedium on your listeners?
 

119. The discussion about Beauty is never-ending. But time, time will be just to the kind of Beauty that’s yet to be recognised.

 

130. Expressing your inspired desire by paiting is no easy thing.
 

131. Don’t confuse profound comfort with a shallow lackadaisical attitude.
 

132. Art will not have the power to move if it is mediocre and without sincerity.
 

133. In order to appreciate paintings of course one needs to have an aesthetic flair and of course one must possesses diverse knowledge of pictorial art and life.
 

134. The great artists work so immeasurably much. It is impossible that there ever was an artist who worked lamely while having a great talent.
 

135. You won’t easily become a poet or an artist with just a haphazard entry into the field of Poetry or Art. Those with a savvy, sophisticated and cultured eye will suss you out and place you in the class that you belong.
 

136. Fine, carry on working, painting, researching... eventually you come to produce something new, eventually you will come to understand others, to understand yourself. Without understanding yourself, it is easy to confuse between Beauty and Ugliness.
 

137. If it really is true that you cannot produce anything appealing, well, my friend, there is enough time for you to change to a more suitable path, a path for which you are more suitably gifted to follow. Don’t waste the talent that you have in attempting to chase after some other “gifts” that you don’t possess, where do you think that chase will lead to?
 

138. To be fastidious is a good thing but in what way should you be fastidious? Is your fastidiousness productive? Don’t be fastidious in the manner of an senile old man.
 

139. Be satisfied with yourself and embrace all the inadequacies that that implies, at least that satisfaction will give you the daring to work on. Amongst those inadequacies, let’s us pick and choose, and surprisingly, we may come to achieve something of Beauty, something that’s even more beautiful than what we had dared to hope for!

 

150. Everything starts with your vision. Yes, with a worn vision, how could you comprehend the appeal of something new? I remembered Fernand Leger once advised people not to visit the old museums too frequently, in the fear that one’s vision became too well familiarised with the old, making it difficult for one to accept the new. So many new things were criticised or cursed at the beginning, only to be praised and welcomed by people a short while later.
 

151. Picasso never wanted to stop at any point along his path, he liked starting anew, on a new path. And because of that, he was forever young.
 

152. Working as an artist, you should not be hallow, sloppy but then neither should you be dried up, pedantic and insipid. Changing a habit is no easy thing. Consequently, so many of our artists are just standing still or at best, matching on the spot. It’s not what they want but it’s what habit has reduced them to.
 

153. You need to have wide knowledge and much learnt in order to follow the artistic path. It is a road of hardship and misery.
 

154. Is painting a lot a good thing or not? That is an issue. If your painting is of a certain standard then painting a lot is a good thing, but if your painting is non-consequential then the more you paint, the more time and material you waste and materials cost money.
 

155. Today I saw the silk paintings of a friend. I thought he painted too meticulously and so his painting lacks fluidity, feelings. I have advised him to research thoroughly, really thoroughly, extremely thoroughly, similarly, he should document things scrupulously, the more so the better, but when painting, he should be so artless as to be playful. But my advice is actually useless because he works to sell and working in his style it would be easier to sell. Perhaps if he listens to me, it would be difficult to sell? Well, it’s impossible to advise someone who’s not born to devote to Art.
 

156. How lazy you are if you only know the well-worn paths, those which have been trodden upon for centuries. Only senile old men would want to .. .restore these things in this day and age!
 

157. Pictorial Art must bring together what are appealing and good. Here we are also talking about materials, tools etc... not just talent alone. I deeply regret the fact that there are beautiful paintings that are gradually damaged by time. If on1y the artist was careful, such thing would not have happened.
 

158. Don’t satisfy your desire by using even the inferior canvases, those canvases that should not have existed, the paints that were grounded by yourself in a hurry with low quality pigments and linseed oil. Even though the paintings you produced are beautiful, you would gradually become annoyed by its damaging deterioration.
 

159. In cases where there is extreme paucity couples with a fervent love for Art. I think, let’s us do things that are not limited by the paucity. How can I paint well in oils ~f I am lacking oil paints? I think it is time we stop putting up with paucity in Art.
 

170. Of course an artist’s talent is God given. But one needs training and practice to enrich one’s knowledge vessel. A painting of someone lacking in knowledge does not feel quite right somehow.
 

171. Creative freedom is a necessity. It is a genuine issue. It is a matter of Art. It is a matter of talent.

Sad is the kind of “nonsensical” freedom, the untalented wanting to brag about their talent! In my opinion, leave them to create lest them complain of imposed restriction!

The viewers demand that they paint well, that they work for the sake of Art. There if creative freedom push them to achieve that then we are ready to applaud it.
 

172. The enthusiasm, the passion of youth is such a wonderful thing, they push you to have a desire to create. It feeds the tireless flame of work (in you). Once you have started painting, there’s no wish to stop.
 

173. Art loathes dishonesty and deceit. Even if you succeed (with these means), you will only reach a plateau of “counterfeit” Art that can temporarily trick a certain group of people. Think of the future, those paintings that are meant for the future will become more apparent with time and those who are opportunistic and mercenary will run out of time, yes, it is an absolute certainty that they will run out of time, people will clearly identify those who are talent-less. And then those who are admirable will also be recognised.
 

174. Let’s truly value those with talent. Don’t leave them to exist in prolonged misery, It is these people who will glorify a country*.

If people with talents are not treasured, there would be none.
 

175. Chasing after Beauty is something you do not just in paintings. A true Artist’s moral conduct needs to be constantly polished and re-examined.
 

176. If you keep on painting for a weak audience, keep on pleasing them, then you will yourself remain weak.
 

177. I do not think that there are any fixed techniques in Art. There exist particular requirements of each category, of each artist. Also, whatever an artistic concept may be, it will still have the basic aim of successfully contributing new things from its era to the garden of global Art.
 

178. Let’s paint until the painting is ripe i.e. until it is beautiful.
 

179. The professional conscience does not allow one to be satisfied with something that is not quite beautiful, or something ugly. Sometimes, because of a common, everyday reason that we have to put forth some mediocre work. That common, everyday reason may be born out of overt consideration for someone’s wishes, or it may have something to do with just money!
 

190. In general, human beings are oh so weak. They cannot speak the truth because they are weak. They seek fame and fortune because they are weak. Artists are significaut because they carry within themselves an extraordinary strength. Don’t think they seek fame and fortune, only certain number of them do. Not all are the same. Artists also have bad traits, they may even be worse than others. But what is there to complain they are not conning anyone and are they not also governed by a certain kind of society? Why not recognise what is wonderful about them? The ideological Beauty that they are pursuing? They are so complex that they are the angel and the devil rolled into one.
 

191. Empty philosophy! That’s talk without action or without the capability to act. That’s the talk of an arrogant parrot to make believe and it may also be the recital done by someone who has, in effect, learnt their lesson by heart. If you say that it is good, well, may be there is a certain skill in that. In the field of Art, there have been so many show-offs, who ended up what they are, zeros. Life does not even bother to mention their names!
 

192. Talent? If that is what talent is and if that is what is meant by being “talented”! Fine, let’s assume that it is talent if it suits certain people’s appetite. But there still evidently exists those talents that do not fit into any formulae and so people continue to irresponsibly regard (these outsiders) as being below-par or inadequate because it is so much less troublesome to do so. The modern painters in France, in the beginning, were decried as rebels by the old Academy types! It’s not so surprising that the feudal types fear the Revolution.
 

193. There’s a good kind of fame and then there’s a bad one. Many people want to leave a hallmark of their fame with people. But what kind of fame?
 

194. Why is it that people do not wish a life of good fortunes for those who are blessed with talents? Instead they wish them a life of sadness and bad lucks... That is all because of envy and grudge.... They feel angry when someone is better than they are!

How awful it is for those with talents who have fallen into hardship! I think that is also an injustice. Would honest people with a noble soul dare to defend those who are treated unjustly? Such people are too few and far in between, and are also often without power and so their defence does not lead to anything.
 

195. The best way to answer back is with your work. An artist only has paintings, paintings and paintings (beautiful paintings).
 

196. Style is a form of sincerity. Your style is what you are. Hence it is such a bad thing to imitate any style. Your vision (like a pair of glasses) must be your own rather borrowed!
 

197. The main source of happiness for an artist is to create, to build on his work. Don’t let time passes idly by and then regret that you have not achieved much.
Try to hang on to pieces of your work that are truly beautiful. May be because being an easily bored or excessively modest person, you have not treasured your works and let them fall into the hands of many people, including those who have no love for paintings.
 

198. Don’t think about fame or fortune when you paint. Painting should not be for selling or showing off your talent with someone. When you want to brag or show off your talent, you will be compelled to use certain formulae to win the admiration of your audience!
 

199. Let’s paint for ourselves, paint so that you yourself can see, can discover the appeal. Paint to infuse it with emotions. To paint is to display your view point.

 

210. From then to now, as we have witnessed, the counterfeit artists live with so much more material gains than the true artists. That’s the ironic thing. An artist lives in accordance to his own ideals. They do not paint just for money. Don’t mistakenly think that they are just as keen for money as everyone else but they are poor because they are “less talented”! No, they are above those who work for money because of their very poverty. They cannot sell their paintings. Those who have money would say that their work are ugly and they would smile at the commercial, materialistic life. They understood what it meant to follow an artistic calling, they understood that there may be even more hardship, more difficulties. Their offspring, the people who follow will appreciate them, will treasure what they left behind. Even in their lifetime, there will still be people who understand, value them and talk about them with respect.
 

211. One must work and work continuously. That’s the only way to preserve talent and push it forward. It’s not simply the matter of being capable of doing something, sometimes you know what to do but are incapable of doing it because of your lack in training or practice. On seeing how easy a good carpenter plane his wood, you may think that you can do it yourself. And yet when you are given a planer?
 

212. Picasso created around 25,000 paintings, leaving be hind a legacy valued at approximately 5 billion FFs. That is a great example of artistic labour. How much have we done?
 

213. Eventually it is your name that enhances or erodes the value of the pinting and the greater the name, the valuable the painting.
 

214. What is a great artist? (Someone who) painted many great works? Has many works being displayed in museums *? Renown around the world or in his own country? Praised by many people? Oh dear, does that mean that the reversed is true for a little artist?

A great artist will have more and more admirers as time goes by. This is necessary because it is the truth. Those who possess an essence will naturally give off the scent. But that too needs time.
 

215. There are people who advertise themselves too much when even a little would have been unacceptable!
Certain artist said: “I do not like my paintings to be displayed in exhibitions — the criticisms, the praises, the critique make me feel less free”. How complicated! Some people like to be criticised in order to spur themselves on to work harder (and so to reply his critics)! Others like to be praised so as to feel more encouraged in their work!
Don’t be overtly self-confident while working. One must understand one’s own capability, own talent and recognise both the strengths and the weaknesses. But sometimes, one must be doubtful when detected changes within oneself.
 

216. Aren’t artists those who chase after beautiful dreams even in everyday life?
 

217. I like a Beauty that’s sincere and discrete. The glorious, splendid or resplendent seems to frighten me.
 

218. Vitality is an important condition in order to work with Art.
 

219. Passion — a formidable strength.

 

230. An artist paints all the time. Even when he is not doing anything, he is painting in his mind.
 

231. Greed in Art is a harmful thing. Just stuffing a dish with all sort of flavours does not make it a wonderful meal. Just as surely as the insufficiencies, the excesses ruin Art.
 

232. In life, there’s no shortage of people without talent (in an artistic sense). It is best not to refer to them because even if you say it, they would still be disbelieving, unalterable, they would not try to learn from those who are good and they would only be resentful, causing you more irritations.
 

233. Criticisms are sometimes very necessary for people working with Art. It appears to be an initiator, a catalyst. It pushes these people to seek further, understand deeper, be more passionate. Satisfaction extinguishes desire.
 

234. The are people who are indeed without talent. And yet they are so terribly boastful! Well, there’s nothing to it, these were just lucky. Luck is more useful than wisdom but luck couples with wisdom is even more beneficial. These people were of their time and they happend to answer.
 

235. How sad it is for those without talent. If only he’s more decent and follows a career that’s more suitable for him. But as it is he turns to deceiving and it is rather irritating.
 

236. Let’s spend more time to think about the profession, about Beauty about our own artistic concepts. You will realise it if your soul is unmoved. Allow yourself be emotionally affected in order to paint. If you don’t feel affected by something then change and paint something else, some thing that moves you.

It is not difficulty that I fear but inadequacy.

In reality, there is a confused mix, Beauty sometimes stands next to ugliness. To really see Beauty is not something as easy or simple as taking notes.
 

237. Don’t confuse between a profound level with comfort with shallowness or lackadaisical attitude. Art is won’t be capable of stifling felling in people if it is mediocre and lacks sincerity.
 

238. Reality allows you to capture the truth. The truth is fundamentally for us to capture Beauty. From that captured Beauty we have some basis to “talk” about Art.
 

239. A talented artist is one who creates quality, not cheap, not well worn, not old — works, who does not imitate or following the moulds formed by school, who is not easily praised, does not fear being discarded or reviled

 

250. To “understand” the sensitivity, or maybe for the sake of accuracy we should say to “feel” the sensitivity of a painting, is not a simple matter... Many beautiful paintings are recognised by only a few people because they have within them something new (that the viewers haveyet to understand) and something sensitive (that the viewers have yet to feel).
 

251. Vietnamese vocabulary does not contain many words to clearly distinguish between

the followers of the many disciplines that exist in pictorial Art. Often they are all just

called Painter for the sake of convenience. As long as you paint, you will be known as

a painter, regardless of what you paint with or what you paint. And once you are called

a “painter”, it seems that you are capable of doing anything at all.

Well, if you can paint anything at all then it would be difficult to paint certain something really well.

Is it possible that painting as a profession is not as highly regarded in our country as it is else where?

In other countries, the public tends to pay much attention to unique, original talent. Because there is such profusion of ordinary talent that it is not possible . . to take note of them all! For that reason, we should not be surprised when certain talents are frequently mentioned in the press. But don’t forget that there are extremely original talents that have yet to receive any praise. Maybe time is needed to see if a talent will grow greater or become smaller!
 

252. The precious thing within an artist is his sensitivity. Without it, it is difficult to become a great artist. Diligence is not enough, neither are skilful hands. The skilful hands do not make you better than someone else, but richness and sensitivity of the soul do.
 

253. Be guileless when you paint. I say guileless, meaning that you should not set out to express anything and you should not try too hard.

Whatever is appealing in the painting must come from you yourself. It must be your won creation. [low sad it would be if your painting is covered with a layer of “moss” (in the words of Chagall). That “moss” is made up of things that are not yours. It is similar to trying to jazz up something with a layer of plating.
 

254. One extremely important matter that tends to be disregarded by artists is health. Take care of your health, stay healthy at all time, don’t “be sick 3 days out of 5” like some people (a Vietnamese saying to indicate a sickly person). That will definitely restrict your creativity.*
 

Time goes by, what is “today” will soon be known as “yesterday”. The Good and the Beautiful will live on & vice versa. My friend, don’t be so hastily proud*, how many works have you created? Are they true masterpieces?

It is best not to rate yourself too highly. Work diligently, work harder than you have ever done!

You cannot be satisfied with what you have done. My dear friend, shouldn’t you do more and do better?

A phrase of modesty: “I have yet to create a significant work”. Saying that so that one continues to try and work harder, not to just simply ... give up the race.

Hanoi September 2000

On the anniversary of the 80th birthday of Bui Xuan Phai (1.9.1920 — 1 .9.2000)
BUI THANH PHUONG - TRANHAU TUAN collected and edited.
Cafe Artist Phuong 31 Cua Dong -Hanoi