(found in the Gandon Editions Biography)
Not to paint is the highest ambition of the painter but God who gives the gift requires that it be honoured. It is in the gesture that it lives. There is no escape. Picturemaking is ludicrous in the light of the awful times we must endure. It is sufficient to contemplate the nature of composition to see that the picture itself is impossible. Each square inch of Titian contains the whole pointless — between the cradle and the grave. My paintings are merely signs that the activity was engaged in. — PN
To paint even a bottle is dramatic. A leaf will do. — PN
To know what it is to look at things, life as a prayer, a mass, a celebration. — PN
One who opens his eyes and sees. To be good at seeing. How difficult not to see anything but the visible. And nothing will be left but dust and manure. Attempting the impossible. Approach the mystery. — PN
Metaphysics — what metaphysics do those trees have? — PN
What trace of the creature subsists in the work. It is a way of staying alone, passing the time subjected to the object — silent, still. Walk with humility in the landscape. To be some natural thing — an ancient tree — no thinking — not to think is central to the activity. — PN
There is the modern phenomenon of the artist declaring all is void, nothing is possible, and soon is making his fortune out of despair and emptiness. I am too romantic to accept the dishonesty inherent in such a role, or perhaps it is my religious education. Such a position cannot be a religious position. (I) do not accept that the artist should not engage in other activities though when he does he must accept a different responsibility. — PN
Life is more important than art — quantity is only important in that the amount of activity is greater not the number of works. — PN
Obey God by living spontaneously. — PN
Notebooks
(found in the Gandon Editions Biography)
I think that I probably have a real talent for painting trees if I developed it assiduously. I want to give them great density and depth pile heaps of detail into them and yet keep the sense of presence which is the whole point.
I have started the painting of the palm tree outside the window. I can go straight at it because I have wanted to paint one for so long and have looked longingly into them so often in so many places. — Italian notebook, 1954/5.
In 1958, I had the privilege of painting George Barker’s portrait.
It is the emanation that is the real subject of the painting.
This can only be painted via the concrete, the aim is to make it concrete, exclude time and expression because expression introduces the notion of time.
I believe in the theory of emanations though perhaps in a different modified form since I do not deny this capacity to the inanimate object. Such feelings as reverence and respect may inhibit. One has to be open and sensitive to the emanation to sense its character.
It is intuitive activity.
To get a likeness which does not depend on facial expression is the aim. But there is a very sad moment when we can no longer refer for one’s revisions to the subject, the equation has assumed its own life. I hadn’t in fact painted a human being for a year.
I had painted trees in the countryside which also have their emanations. I have made no use of the knowledge which the privilege of friendship necessarily brings, that is not conscious use. These being merely notes on what is in the poetry. In the man a great generosity of spirit. — London notebook
All this puts me back in a situation I have purposely avoided for twenty years. But I have made the mental decision (or should that be spiritual choice) to put out my work again.— Swift in a letter to Patrick Mehigan offering The Fig Tree for sale.
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Images
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Dublin Oil - Dublin Watercolour/ Ink - Italy - London Oil - London Watercolour/ Ink - France - Algarve Oil - Algarve Watercolour/ Ink - Self-Portraits - Trees - Portraits I - Portraits II - Porches Pottery - Books - Misc - Algarve Studio
Note: many of the reproductions displayed here are of poor quality
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By Swift
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Nano Reid - Some notes on Caravaggio - Italian Report - The Artist Speaks - X magazine - RHA Exhibition 1951 - Eça de Queiroz & Fernando Pessoa - The Portuguese Enigma - Notebooks - All
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About Swift
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Main
Patrick Swift: An Irish Painter in Portugal - IMMA 1993 Retrospective Catalogue - Dublin 1950-2 - By His Friends - X magazine - Poems - Further Quotes About - All
By His Friends
Anthony Cronin - John Ryan - John Jordan - C.H.Sisson - Martin Green - John McGahern - David Wright - Lima de Freitas - Katherine Swift - Tim Motion - Lionel Miskin - Jacques D'Arribehaude - Brian Higgins - George Barker - Patrick Kavanagh
Further Quotes
Brian Fallon - Aidan Dunne - Derek Hill - Brendan Behan - Lucian Freud - Patrick Kavanagh - Elizabeth Smart - Further Quotes About
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