![]() The relevance of LF’s ideas remain as vital for me today as they did in 1971 when I first read them” The “noise” that surrounds so much of what passes as art today just ignores these important ingredients of human experience, for the sake of being novel or “current”. The painterly is not just a “wiggly” brushstroke, but a synthesis of the perceived and the sensual and the unconscious, and the painting is the evidence of this unfolding process as the work is made, and discovered. “These citations show how Louis Finkelstein saw the role of the painterly as a way of seeing and translating experience into form. I only had a limited knowledge of Louis Finkelstein paintings and writings but after reading Bill’s comments I was determined to find out more about this artist. ![]() I can’t go any further than this to make them fit into some extrinsic idea of completeness.”Ī comment left on this blog a couple of months ago by Bill White spurred me to put together these essays and make them available here. So far as the application of paint goes, I simply do what I can to make the forms work according to my view of what works. So that is where the spontaneity comes in. One of my teachers, Edwin Dickinson said, “representation is a bum aim, but you’ve got to deal with it.” Some of my paintings involve sheer automatism, putting down one element and then responding to its effect upon the whole for the next move. So there is no issue of simply objective representation. These relations are, for me what I call “thematic”, that is, like a musical theme, particular intelligibilization extracted from the flow of sensations. “Implicit in what I just said about the relation between the visual and the conceptual is that, primarily, I’m conscious of dealing with relations, relations which are essentially of pictorial forms on the canvas although, naturally these refer to relations seen in nature. Louis Finkelstein, in an interview (reproduced later in this post), said: The painterly isn’t just about loose brushwork, it is opening up a space that could include a wider range of perception beyond the visual such as taste, smell, sounds as well as reacting to the emotive presence of the thing or place. Painterly approaches aren’t mere affectation or idiosyncratic rendering it’s a lyrical as opposed to literal translation of the visual experience. Painterly representation is often in opposition to making a literal copy of nature, instead the painterly acts more as a record of the painter’s involvement with the motif. ![]() ![]() I will admit to the fact that any perceptual painting’s shortage of dense art theory has been on the plus side for me but lately I’ve been interested in learning more about what art theory and criticism has been written that concerns the perceptual and painterly in art. Sometimes you hear from critics that perceptual, painterly painting lacks persuasive “art theory” and that it doesn’t tackle the big themes of social and art issues. There isn’t time for polish and refinement and painters tend to celebrate paint application rather than conceal it. Their brushwork is evidence of responding to quickly changing light, weather as well as changing mood and pictorial necessity where broad handling, quick decisions and emotional summations are imperative. Many contemporary painters working from observation also tend to work in a painterly style. God of the sea(greek roman mythology:Poseidon), In the endless blue sea, A proud and pious appearance, Underwater volcano breaks the surface with the force of its eruption, The surface of the sea trembles and roars, (holds the legendary trident, The trident's three prongs glow with supernatural bioluminescence and each tip is as sharp as the teeth of a ravenous sea monster), (Adorned in majestic robes covered in seaweed every fold and crease reflects the ocean's undulating currents, His sea-soaked beard cascades of liquid silver and his hair flows around him like the tendrils of a monstrous kraken),, Captivating eyes, stormy blue, shining with divine fury, Giant sea creatures join the battle, waves of destruction, Roaring and thundering waves, A battlefield of chaos and terrifying beauty, An indomitable ruler and embodiment of the infinite power and mystery of the deep sea, (dynamic angle:1.Louis Finkelstein “Hanover Center I ” 48 x 48 inches 1996
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |