{"id":1735,"date":"2012-02-08T12:43:36","date_gmt":"2012-02-08T07:13:36","guid":{"rendered":"http:\/\/shekharkapur.com\/blog\/?p=1735"},"modified":"2012-02-09T08:08:29","modified_gmt":"2012-02-09T02:38:29","slug":"does-art-defy-aging-interview-with-95-yr-old-artist-robert-amft-by-horst-vollman","status":"publish","type":"post","link":"https:\/\/shekharkapur.com\/blog\/2012\/02\/does-art-defy-aging-interview-with-95-yr-old-artist-robert-amft-by-horst-vollman\/","title":{"rendered":"95 yr old artist defines passion creativity life and defies age"},"content":{"rendered":"

My encounter with Robert Amft, the 95 year old American artist : by Horst Vollman.<\/strong><\/p>\n

As I rang the doorbell to Robert Amft\u2019s home in Myrtle Beach, South Carolina, on a sunny\u00a0January afternoon in 2012, I knew that I was about to meet an American icon, an artist whose\u00a0versatility is unmatched in the art world. Amft, at the age of 95, still produces art to please \u00a0himself, first and foremost.<\/p>\n

I was cautioned that Robert Amft was wheelchair-bound, with little energy to spare, not to ask\u00a0too many questions and to keep my exuberance in check. Thus, I entered the room with the\u00a0hesitation of one who expected to find an ailing man in whose presence words had to be\u00a0spoken tentatively. His firm, even strong handshake quickly dispelled any such notion. His eyes\u00a0seemed to belong to a man half his age, his voice had a firmness that belied his 95 years. When,\u00a0after a while I worked up the courage to ask him personal questions I wanted to know whether\u00a0his continued painting at this age was a yearning to express unfulfilled dreams. He looked at me\u00a0the way an errant child is to be taken to task. \u201cPainting is my life\u201d he explained softly,<\/p>\n

\u201csometimes in my dreams I paint and when I wake up I actually want to walk to my easel,\u00a0forgetting that I need a wheel chair.\u201d There was a pensive smile on his face when he said it.\u00a0\u201cHonestly, the fact that I still paint has nothing to do with regrets or unfulfilled dreams. Quite\u00a0the contrary, most of my dreams have come true. Look at this easel. When I sit there I feel\u00a0happy, no thoughts intrude. Something inside me happens that is hard to explain but let me try\u00a0it anyway.\u201d Haltingly first, then increasingly firm, he began to open up. \u201cMy life is about colors,\u00a0light and compositions, about brush strokes, charcoal sketches, about a canvas I want to cover\u00a0with something that only at that very moment develops. I never know in advance what it is\u00a0going to be but I am always surprised again about the outcome. I don\u2019t analyze, never did.\u00a0When I paint, everything flows, I forget who I am, age and time lose all meaning. I become part\u00a0of the process. I would almost push it further and say, I am the process.\u201d<\/p>\n

He paused and his\u00a0look became nearly wistful as though my question had touched a special chord. \u201cI once read\u00a0that the painter uses the canvas as a battlefield for unresolved emotions where every\u00a0brushstroke is a Freudian slip. My goodness, the art world reads too much into us. At the end of\u00a0the day artists are just ordinary people with a talent to paint. When I look at a canvas I don\u2019t\u00a0see the outside world. At these moments I feel happy, yes, just simply happy. The outcome is\u00a0not what matters. When I am in that state it is of no consequence to me if my work is liked or\u00a0rejected.\u201d<\/p>\n

He loves Picasso and Matisse, those were the true masters, they inspired him throughout his\u00a0life. Both had painted into their 90s and he felt that their ability had not been diminished by\u00a0age. \u201cYou may find it hard to believe, but my best water colors I have made at 85. I would still\u00a0do sculptures, collages and photography but I lack the physical strength. When I was 94 passed the annual mandatory Chicago driver\u2019s test and lived by myself in a large 3 story walk up\u00a0apartment. I did my own grocery shopping, drove to the library three times a week but after I\u00a0broke my hip I had to slow down after the surgery. Now, that I need help, I am fortunate to live\u00a0with my daughter, so I moved to Myrtle Beach\u201d. With a twinkle in his eye he continued.<\/p>\n

\u201cWhen\u00a0I cannot hold a brush anymore, my caretaker will hold it for me. I am not kidding when I tell you\u00a0that I will open an art factory, subcontract my work and go about explaining the theory of\u00a0enlisting others to implement my art. This would be based on my blue prints to conceptualize\u00a0my Mona by combining colors, in fields, stripes, even use drippings. There could be variations of\u00a0rectangular forms, triangles, ovals, and for the dots I would invite Damien Hirst, he is the\u00a0expert.\u201d He broke into an animated laugh but quickly became serious again. \u201cHirst did at the\u00a0most 25 paintings by himself, out of 5,000.\u201d With a wink he continued, \u201cmy best seller might be\u00a0a Kinkade type Mona Lisa in a Paris gaslight setting. Seriously, the marketing guys may perk up\u00a0their ears. \u201c<\/p>\n

\u201cIn the 40s I made a painting of a commercial box. The first time my wife saw a Warhol in the\u00a060s she said \u2018look, they are making art now the way you did 20 years ago!\u2019 25 years later they\u00a0named that Box Pop Art.\u201d We fell silent for a moment and I was thinking what could have been.\u00a0I was moved by the singularity of this man and his devotion to his art. Painting for him is living\u00a0in the moment, when all becomes reduced to a single function, detached from all outside\u00a0influence, much like the dreamy state of a child that is lost in reverie. In fact, there was\u00a0something endearingly childlike about him when he answered my questions, often\u00a0accompanied by giggles and chuckles.<\/p>\n

Painting, although the love of his life, does not occupy all\u00a0his days. He enjoys playing the piano which he had taught himself and which he does amazingly\u00a0well. While in Chicago he read 2 books a week, often about complex subjects. Yet, he never felt\u00a0comfortable, or for that matter may have been too shy, to make profound statements about his\u00a0art. For him, lofty and cerebral language is for the critics to use. If anything, it detracts from the\u00a0power of his work. He strongly believes that art is not to be defined by language. It speaks for\u00a0itself. \u201cI feel sorry for the artists who need to explain their work, to talk about a depth that is\u00a0not evident in the painting. They make them say words that sound scripted. Poor guys.<\/p>\n

We\u00a0both were silent for a moment when he finally spoke again. \u201cI am not a lonely man, I still play\u00a0the piano. I never go back to the past in my thoughts to evoke the so-called good old days. It\u00a0takes away from the present. That is why old people live such miserable lives. They constantly\u00a0think of the past, leaving little room for the now. I am very content with the way things are, I\u00a0will soon paint again in earnest after my eye surgery. How much better can it get?\u201d<\/p>\n

For 70 years Amft\u2019s styles defied categorization, his trademark remained humor and irony and\u00a0the use of brilliant colors. Although he loves Picasso and Matisse he still is hesitant to put\u00a0names to those who influenced him most. The primitivists, surrealists and German\u00a0expressionists, they all left their indelible imprint on his artistic soul.<\/p>\n

My introductory question still gnawed at him. \u201cIn a way I would want to go back to the days\u00a0when it was less of a bother to set up the easel, mix the colors, prepare the canvas but it does\u00a0not keep me from working. My dreams may not have been fulfilled if the size of my bank\u00a0account is all that matters. But I have lived a wonderful life.\u201d It was almost an afterthought\u00a0when I asked him whether he felt forgotten or rejected by the art establishment. The answer\u00a0came quick and to the point. \u201cI don\u2019t think that way. I was never rejected. I exhibited in many\u00a0galleries, sold a great deal of my work. I actually made a living which tens of thousands of artists\u00a0in New York were not capable of. I enjoyed many moments of fame, they never lasted. Maybe I\u00a0was not an astute self-promoter, did not really market my art, even though I sold many\u00a0paintings.\u201d He conceded, that fame might have an irresistible lure for many of those who are\u00a0swept into the glare of notoriety. For him, fame may have caused the motor that drives his\u00a0creativity to slow down. Fame could feed the ego so well and create a false sense of artistic\u00a0accomplishment. None of that he wanted to be part of. What he wanted most was to express\u00a0with art what he could never say with words.<\/p>\n

All had started for Amft in Chicago. He had decided to stay in the city of his birth, where he\u00a0raised his family. The Chicago Art Institute had trained its sight on New York, Paris, at that time\u00a0the art centers of the world, and had studiously neglected its own artists. With a hint of\u00a0sarcasm he mused, \u201cthey simply forgot to look north to Evanston, where I lived, to see my\u00a0work.\u201d He had toyed with the idea to move to New York but abandoned it quickly when after\u00a0visiting an artist friend he saw appalling living conditions. The fact became clear to him that\u00a0thousands of artists would never be noticed, simply could not make a living.<\/p>\n

More than 60 years have gone by after these fateful times, that could have catapulted him to\u00a0fame and riches, years when Jackson Pollock became the poster child of the art elite in New\u00a0York. I had to know what he thinks today about the 40s and 50s when art critic Clement\u00a0Greenberg had decreed that abstract expressionism <\/em>was to be the only valid form of creativity.\u00a0Amft could not ever understand that art had to be categorized, to become a movement. For\u00a0him it was anathema to cover a canvas with the same motif, over and over again, to be pressed\u00a0into a mold without wanting to break out, because the art world had dictated it. He had done\u00a0abstract paintings at a time when nobody in the U.S. had given it a name. He effortlessly\u00a0weaved through styles the way a Picasso had done in his time and Amft did it all his life. There\u00a0was a trace of wistfulness in his voice when he spoke about the realization of having missed the\u00a0big one, the one that got away. Understanding who he was and how much happiness he had\u00a0found when sitting in front of a canvas his answer came as no surprise:<\/p>\n

\u201cI have no regrets, I\u00a0made my decisions the way I did, I simply chose to be the person I always wanted to be.\u201d The\u00a0trappings of fame, the black-tie events to bestow life-time awards on artists, never appealed to\u00a0him. He did not want to explain art in the jargon of the critics and didn\u2019t feel he had to. \u201cI was\u00a0famous a thousand times, when I received numerous awards, when the critics wrote many\u00a0articles about me. Fame never made me paint better. It just does not mean much to me. Of\u00a0course I would like the world to see my paintings. I live in exciting times, 2012, imagine I was\u00a0born in 1916 during the Great War. And here I am, still painting. I never dreamt that my work,\u00a0now digitized, can be seen by the world. How beautiful is that?\u201d<\/p>\n

As I said good bye to a newly found friend and gently closed the door behind me I realized with\u00a0sudden clarity that the world is unquestionably a better place with people like Robert Amft still\u00a0around, a man for whom life still holds many promises.<\/p>\n","protected":false},"excerpt":{"rendered":"

My encounter with Robert Amft, the 95 year old American artist : by Horst Vollman. As I rang the doorbell to Robert Amft\u2019s home in Myrtle Beach, South Carolina, on a sunny\u00a0January afternoon in 2012, I knew that I was about to meet an American icon, an artist whose\u00a0versatility is unmatched in the art world. 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