Intaglios

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LASANSKY'S FEELINGS about printmaking and about teaching were crystallized in a series of brief statements published in 1949. Much of their strength would be lost in any attempt at paraphrasing—so we give them here again.

"When they ask me how I teach, I can only say there is no formula. I look upon each student as an artist. I assume that he is sensitive. By sensitive I do not mean temperamental, but responsive to the passionate aspects of art."

"Freedom, backed by self-discipline, will eventually help the student to find himself in his work. If I teach anything at all, it is the sense of responsibility one must have as an artist. Students soon learn a distaste for superficial techniques and fast results."

"The copper plate is not a passive medium for reproduction purposes, but rather an active participant in determining the ultimate form of the work of art. Drawing in our studio may serve as the first inspiration for a print, but once it is transcribed to the plate, it is forgotten and the plate begins to dictate the ultimate result. The sensuous sculptural qualities of the plate must excite the touch as well as the eye. But mere excitement is not enough; complete union must take place between the artist and the plate. One must learn when to stop—just at the point of possession."

"My ambition with my students is to give each one a rationale for his work. When the students come to our workshop, they are generally unaware of how to use their emotional and intellectual experience. In addition they lack technical knowledge. The purpose, the responsibility, the integrity of the artist is obscure to them. My teaching begins with the avowal of the artist as a predestined professional. The hazards entailed in experiencing rejections from and acceptances into juried shows, the understanding of professionalism, the control of fear—all these must be contributions to their maturity early in their careers."

"Instead of frightening the student with academic strictures, I try to give him the freedom to experiment in all directions and to seek inspiration from any source whatsoever. There should especially be freedom to capitalize upon mistakes. The student finds that even if three-quarters of his plate is unsatisfactory, he may still correct and improve his work by scraping down the metal; this will develop security and a fearless experimental attitude."

"The artist must be an inventor as well as a craftsman. He will combine the experience in printmaking techniques of the last 400 years in one print—if it is necessary or desirable."

"Real freedom cannot exist without discipline. By discipline I mean all those things that are synthesized in a mature personality: understanding and love, honesty, control and order, self-criticism, and above all, the ability to face reality without fear."

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