FOUND AT LAST: THE FOUNTAIN OF YOUTH, BY R.L.HUFFSTUTTER

FOUND AT LAST: THE FOUNTAIN OF YOUTH

By R.L.Huffstutter
THROUGHOUT THE PAST WINTER, SPENT IN VARIOUS AREAS OF THE USA, I SEARCHED FOR THE FOUNTAIN OF YOUTH...

TIME TO PAINT

PICTURES FROM INSIDE MY MIND ARE SURFACING AS TIME GOES BY. WILL IT MATTER ONE-HUNDRED YEARS FROM NOW IF I POSTED THIS WATERCOLOR OR SKETCH ON THIS SPACE TODAY? I DON'T KNOW. WHAT MATTERS NOW IS THAT I FEEL LIKE POSTING THESE IMAGES TODAY. HOPEFULLY, YOU WILL ENJOY THEM.

ESSAY ON AGE: THE JOY OF GETTING OLDER

AN ESSAY ABOUT TIME AND AGE BY ROBERT L. HUFFSTUTTER

TIME IS THE MOST MYSTERIOUS PART OF A LIFETIME; NEITHER THE YOUNG OR OLD CAN EXPLAIN IT CLEARLY AND BY THE SAME TOKEN, IT,S SAFE TO SAY THAT NEITHER THE OLD OR THE YOUNG OWN MORE OF IT THAN THE OTHER.
THERE IS A WISDOM ABOUT TIME, HOWEVER, POSSESSED BY ONLY THE OLD; IT IS A WISDOM THAT IS IMPOSSIBLE TO GAIN IN YOUTH. AND THAT IS GOOD IN THAT IT GIVES EACH PERSON EQUAL WISDOM IN DUE TIME. NO YOUTH CAN COMPREHEND THE REALITY OF TIME IN THE WAY ONE WHO IS THREE SCORE AND TEN. TIME, IT IS A REALITY THAT IS SO DECEPTIVE TO ONE AND ALL. THE DECEPTION WILL ALWAYS BE REALIZED LATER THAN SOONER; AND THAT IS THE SAD PART. BUT SINCE TIME CANNOT BE SAVED IN A BOTTLE OR A VAULT, IT IS MORE OR LESS IRRELEVANT. YOUTH SPENDS TIME AS IF IT WILL NEVER END WHILE THE ELDERLY HANG ON TO EACH DAY, FAR INTO THE SUNSET AND ONLY LET GO RELUCTANTLY. YOUTH RARELY, IF EVER, SIT AND GAZE OUT WINDOWS AT BYGONE DAYS WITH REMORSE. FOR THE AGED, REMORSE QUITE OFTEN HELPS THEM WHILE AWAY THEIR TIME IS A MOROSE FASHION. TOO TIRED AND STIFF TO RUN OVER HILL AND DALE OR GO EXPLORING IN THE WOODS, THOSE SAD REGRETS WILL OCCUPY THEIR TIME; IF IT DOESN'T, KNITTING OR PAINTING PICTURES OFTEN SUFFICES QUITE WELL.
TO THOSE WHO FEEL MY DESCRIPTION OF ONE WHO IS AGED IS LESS THAN IDEAL, I WILL ADMIT THEIR FEELINGS ARE CORRECT. I CANNOT THINK OF ANYONE WHO WOULD RATHER BE SIXTY-FIVE OR SEVENTY YEARS OF AGE IF THEY HAD A CHOICE TO REMAIN IN THEIR THIRTIES OR EVEN EARLY FIFTIES.
I AM NOT NEGATIVE, I AM A REALIST. TIME WAS WHEN TIME WAS BETTER, BUT THAT'S NOT TO SAY THAT I HAVE LET AGE CAUSE ME TO SURRENDER. NO, BUT BEING A REALIST, I CANNOT HONESTLY ENTERTAIN THOSE SAME DREAMS I HAD IN MY TWENTIES OR THIRTIES. AND THAT, BOYS AND GIRLS, IS THE ESSENCE OF THIS MESSAGE. DOES ANYONE RECALL THAT OLD ADAGE OR DIDACTIC BIT OF INSPIRATION ABOUT MAKING HAY WHILE THE SUN SHINES? THAT IS, IN A NUTSHELL, WHAT IT'S ALL ABOUT. THE FINANCIAL INSTITUTIONS HAVE ANOTHER CUTE BIT OF ADVICE THAT YOUTH SHOULD LEARN AND UNDERSTAND: DON'T EVER BE AFRAID OF OUTLIVING YOUR MONEY, PLAN AHEAD. "PLAN AHEAD," YES, THAT SOUNDS LIKE GOOD ADVICE.
NOW, LET ME SEE, WHAT SHALL I PLAN ON? OUTLIVING ONE'S MONEY IS A KIND OF CATCH 22. THIS IS SURELY A CASE WHERE HOPE AND FAITH MUST ENTER; OTHERWISE, IT IS JUST TOO PERPLEXING, TOO CONFUSING, AND FRANKLY, TOO DEPRESSING. WHAT WAS THAT OLD SAYING ABOUT ENJOYING THE DAY AND GOING FOR ALL THE GUSTO? THAT BIT ABOUT ONLY GOING AROUND ONCE, WELL, I AM GOING TO WITHOLD MY COMMENTS ON THAT ONE.

THE LONELY SOUL SERIES BY R.L.HUFFSTUTTER

THE LONELY SOUL SERIES BY R.L.HUFFSTUTTER

STILL LIFE AS A ART THAT STANDS ALONE AND STILL By Robert L. Huffstutter

Still life is an art that stands alone and still. Silly as it might seem, a still life picture moves about quite frequently because of the idea that still lifes are boring and out of fashion. Now if one has ever seen a still life with a figurine, that figurine probably has legs. Let's say it is a still life with a cowboy motif, a Roy Rogers still life. Right off, Roy and Dale were cowboy heros, for sure. And Trigger, the horse that made Roy famous, is also deceased. He has been stuffed for quite awhile. Thus, there are figurines of Trigger around. But more later. This is becoming too long. It is getting too complicated. Please return for the final thoughts about this on-line essay that is not quite finished.

AN ESSAY ABOUT PERFECT PICTURES: fame as an artist By Robert L. Huffstutter

AN ESSAY ON AND ABOUT PERFECT PICTURES AND FAME AS AN ARTIST BY Robert L. Huffstutter

Raol Dufy was one of my early inspirations. Why? Because his work was not picture perfect and my work was far from picture perfect, I found it easy and pleasant to associate with his work. Of course, I was only 8 or 9 years of age at the time, so I had much to learn about the art of NOT doing "picture perfect" work. That's to say, there are those who are truly artists who can do work that is hard to differentiate from a photograph. To say that because their work is photographic it isn't art would be too judgemental and in error; for those who feel that accuracy and likeness to a point of perfection is art, it is, indeed art.

For me, impressionism and expressionism reign supreme. I am not a Kodak and my hand is not a Canon; therefore, it is what I see with my eyes that is important to me and to those who care to view my work. This paragraph is an example of how one can waste one's time when one becomes involved in art reviews and explanations of artistic concepts. Nonetheless, it is all within the realm of the art world and one can decide how much time one wants to spend on reviews, explanations and simply dipping the brush in the water and painting. For me, it is a combination of these joys that makes me feel good about art, makes me feel like an "artist" and thus satisfies this intense love I have for art.

There are many, I am certain, who share my feelings about art and the world of art. Long ago, I learned that only a few fortunate people become famous; I accepted that fact and continued painting. It is the joy of painting that keeps my mind busy with new work. If fame would come my way, I would welcome such fate, however, I am not building bridges toward fame.

Do you suppose that Van Gogh ever toyed with the idea of fame and fortune?

AN OPEN LETTER TO ALL WATERCOLOR ARTISTS By Robert L. Huffstutter

AN OPEN LETTER TO ALL WATERCOLOR ARTISTS


If there's one major truth about painting with watercolors, it is the sense the artist has that the painting is either not "quite right" or "not quite" done, two sensations that can totally ruin what could have been a fairly decent watercolor. These two personal assessments are not restricted to the zany or psychotic artist, they are absolutely normal whether one is a Sunday painter or commercial artist. How do I know? Simple, I have been around long enough to know these facts through personal experience and through conversation with other artists. Moreover, observation is the evidence that supports these opinions. What can we do to minimize our cost of expensive French watercolor paper and increase our confidence and self-esteem?

The answer is as primary as a a set of Prang watercolor paints. Remove the painting and set it aside for several weeks. Look at it after the time lapse and ask yourself several questions. Should there be more black lines around the window sills? Do you really need to make the blonde's hair longer? And how about the biceps of the men showing off--should they be more pronounced and obvious? Should there be two more palm trees down by the beach? After pondering over these superficial dilemmas, one will usually decide that enough is enough.

Now, about the part that there's something about the work that is "not quite right." That, unfortunately, is the realization and admission that only a few people can paint like Don Kingman. If we are so naive or vain that we do not want to exhibit until we perfect our art to the heights that Kingman's art has reached, we might as well put the brushes and paints out in the garage and wait for a neighborhood sale.


We must believe that although we are not as professional and prolific as artists like Kingman, we must accept our style as our own and learn to appreciate it as our contribution to the very large and sometimes hollow world of art. To continue our momentum and keep our spirits positive, we need to keep painting as many subjects and scenes as possible. Sooner or later, we will accept ourselves as being the best we can be and understand our style is unique. We might even begin to really appreciate our work and feel a warm fondness and affection for our paintings in much the same manner as we appreciate the work of our favorite artists. There is nothing to prevent us from looking at Kingman's magnificent watercolors and hoping that in time, we will feel like we are getting better with the completion of each new and different watercolor. That is, I honestly believe, what Don Kingman believed each time he finished a painting. One fact is obvious, he knew when to sign his name to signify that it was done.