In these writings I have focused on the connections and relationships primarily between the artist and the visual experience, and as well on the cultural/social connection with painting given its place today in the arts. Historical and political influences have to a lesser degree been touched upon. Given today’s social/political climate these considerations become difficult to approach, added with the fact that later nineteenth century intellectuals bypassed an analysis of social history and its relevancy to art. With few exceptions they were content with offering an analysis of the “masterpiece” as social history. The context of social history itself was dismissed.
PAINTING
Social and Oil Painting Connection
Monday, November 30th, 2009Elegance and its relevance to the painter
Monday, August 24th, 2009Okay, I admit to being evasive in my post “Artistic Awakening”. I believe that painters learn this so well that traditionally they have been considered well, a little slow at the switch.
Read the rest of "Elegance and its relevance to the painter"
The Painters’ Desire
Saturday, May 30th, 2009
"Spring Meadow", oil on mat board specifically prepared for oil, 20cm x 16cm, 2009
What are the effects of the painter’s desires? What about the motivations leading to the perceptions and execution of a particular work. At what point do conviction and a sense of purpose come into play?
Rules for Painters
Saturday, May 9th, 2009Originally posted on April, 17, 2009 Technorati imcjydb62g
"Ventoux Spring", oil on canvas, 30cm x 24cm, 2009
The rule that there are no rules is the appeal of what some understand as the Zen approach: the anytime anything goes ethic, or non-ethic as it were. We get into difficulty, it seems to me as painters by applying this “beat? philosophy (i.e. this is not classic Zen) in a rigid manner. Properly understood the Zen perspective gives the latitude to “think? in terms of right and wrong in a limited domain such as painting; This, even though the world at large is seen to be beyond right and wrong when it is not put into a frame. But without some form of intellectualizing each painting’s outcome is as precarious as a throw of the dice.