The Creative study of ART

What one sees is merely a hint of what is behind it. This is true whether the subject in its finished state be realistically treated or painted in an abstract manner. The abstract structure of a work is its theme; the thing represented is its idea. Both reflect the intangible expression. The Creative study of ART involves gut wrenching self-analysis. How you feel about the work is all that matters! Effective analysis includes the process of delving into the Artists’ intention and discovering how he actualized the form itself. Can you feel him, see him, and hear him as he labors in constant doubt and self-denigrating remorse?

When actively engaged in the rendering, applying, studying and understanding of the cosmic visualizations through ART, one gets so much more than by just looking: an erotic experience is added to visual experience. Was it not Plato who said: “It is beauty I seek, not beautiful things”? An artist knows that to create beauty in oneself instead of trying to find it ready-made (either in places or things) causes one to implode with indescribable potential. He may be tempted to do little more than make a duplication of artistic inventory of the places and things he’s absorbed instead of creating something original, but if he chooses this route he would be no different from the man who looks for ‘quick fixes’ to complex problems.

As Matisse has so embeddedly stated: “There is inherent truth which must be disengaged from outward appearance of the object to be represented. This is the only truth that matters. Exactitude is not truth.” The implicate need for man to know and comprehend the loathsome parts of himself through the divine nature which he inhabits ever spurs him on in conquest. If the meaning of God was implicitly exact, he would cease his search.

“The great epoch of the Spiritual which is already beginning, or in embryonic form, began yesterday…provides and will provide the soil in which a kind of monumental work of ART must come to fruition”, cried Wassily Kandinsky in 1910.

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