Think Like an Artist: and Lead a More Creative, Productive Life
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How do artists think? Where does their creativity originate? How can we, too, learn to be more creative? BBC Arts Editor Will Gompertz seeks answers to these questions in his exuberant, intelligent, witty, and thought-provoking style. Think Like an Artist identifies 10 key lessons on creativity from artists that range from Caravaggio to Warhol, Da Vinci to Ai Weiwei, and profiles leading contemporary figures in the arts who are putting these skills to use today.
After getting up close and personal with some of the world’s leading creative thinkers, Gompertz has discovered traits that are common to them all. He outlines basic practices and processes that allow your talents to flourish and enable you to embrace your inner Picasso—no matter what you do for a living.
With wisdom, inspiration, and advice from an author named one of the 50 most original thinkers in the world by Creativity magazine, Think Like an Artist is an illuminating view into the habits that make people successful. It’s time to get inspired and think like an artist!
Includes a full-color pull-out insert featuring works of art discuessed.
dismissed, just as Tito’s men did back in the 1960s. That she has won out, and is now widely accepted as one of the most influential and important artists of her generation—responsible for bringing performance art into the mainstream in her time, just as Picasso brought modern art to the masses in his—is down to the rigorous approach she has taken to her work. Integrity, she has demonstrated, is impregnable. Ideas that are born out of ignorance, or which have been flippantly hatched, are
concrete and enduring. This is not something that can easily be done alone. Caravaggio needed a partner. The final stage of the creative process is in fact one of the hardest: turning everything learned, developed, and tested into something concrete. Marina had Ulay, Gilbert had George; Caravaggio had no one. But he didn’t need another artist to work through an idea in the way Picasso and Braque would later join forces to develop Cubism. In fact, he didn’t need a creative partner at all. What
formed that joins all the dots into a perfectly realized, logically robust idea. What feels like divine inspiration is actually instinct. And few knew this better than Picasso, who once said, “Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon.” He understood the creative power of human instinct, recognized it was a friend to be trusted, not doubted. He openly demonstrates this by working his way through the vast variety of
to the Pope and said it was hopeless; he couldn’t do it. Fresco painting such a huge space, with wet paint and plaster dripping into his eyes, ears and mouth, and then drying before the composition was completed, was too difficult a task. Added to which, there were the problematic architectural idiosyncrasies of the Chapel’s ceiling, and the inadequacies of the design that Pope Julius himself had specified for the space. Julius listened to all of Michelangelo’s concerns and complaints, and
Lichtenstein, Washington Crossing the Delaware I, c. 1951 Too many of us are either too quick to quit, or, worse, too frightened to even give a new challenge a try in the first place. It seems so risky, the chances of success so slim. But we should remind ourselves that they are non-existent if we don’t even give it a go. The way an artist approaches such a situation is slowly and cautiously, learning new skills and gaining insights, so that when it comes to taking the plunge it is an informed