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The eye knows, recognizes beauty , but we are not used to enjoying painting through it. Now how do we define beauty? It is something complex, and even superb, to think that we can say “this is beautiful and this is not to them.” Because we enter the marshy terrain of the subjective. Moreover, in the current times, when concepts (or pre-concepts) are blurred in front of the new structures of collective ideals . In every sense, the paradigms of what is accepted as beautiful are changing from a basic premise: freedom of thought, getting out of the mold, breaking any thought structure perceived as imposed by the system.
And art, in this particular case, painting as an expression of it, could also be the focus of analysis under the perspective of “new beauty”. Conflict is to explain it to us, reflect on prejudices, cultural patterns, and believing that we are not prepared for such a visual experience. Excessive recovery blocks and inhibits. This happens more often than we believe, we usually end up frustrated before a painting, sure not understand, lack of tools that help connect with the observed image. And worst of all, is that in most cases it is more due to self-limitation. Do we feel like we're taking a test? Is it necessary to be an expert in the matter to give an opinion or give the verdict very personal? The answer is no, you don't need to become an art curator to look and comment.
If you like it and produces rejoicing, okay! Moreover, if it was right to the heart, if the work touched you, ready. Nothing else to add.
Although art is not an exact science , its artistic valorization is measurable through purely technical knowledge, which will validate it in its dimension. But your study should be left for those who study this craft. I clarify this point, so that the idea of art as a world heritage is not confused with that of needless knowledge or training. On the contrary, scholars of the subject bring great value, collaborate in the task of perpetuating this heritage.
The condition of great work, chosen for few paintings and artists, such as “La Gioconda” by Da Vinci or “La Crucifixion” by El Greco, among few, is measured, perhaps, as a magical experience. Did he have a connection to God? Did His hand intervene? It would take mysterious explanations. We should accept pre-conceived ideas of a divinity and of the artist's possible connection with that supreme source of energy. Or believe in gifts and talents as a divine gift, even think that those who were touched by “the magic wand” carry the dowry through its many existences. How to explain in another way to children prodigy? We know the story of many artists who own an incredible talent at the glance of the critical eye who barely prepared, were born like that, “brought him from another life.”
There is no work without an observer and vice versa. The advice is that you allow yourself to enter the game, and so, without prejudice, like children before the new, let yourself be surprised. Return to the playful ability of surprise and enchantment. Go through the play as you do with music, allowing it to take you. That, even if it is in a language you don't know in depth, you dance or enjoy it pleasantly.Because you don't want to understand it, you feel the music, you let the senses be a bridge and you cross it, or rather, let it cross you. That's what it's all about, allowing the paint to cross and shorten the distance with the observer.
Look at art.
Publication Date: 19/04/2018
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