iandol on sat 29 mar 03
Dear Friends,
Googled Morandi for images. Seems to me that he relies heavily on =
pottery for the subject matter of his still life paintings.
Since these pictures are now abstractions of actuality it seems to be a =
perverse act to imitate such images by making 3D objects of what is =
perceived in 2D space.
Interesting to consider problems caused by visual distortion, =
degradation of tone and hue and altered spatial relationships caused by =
the alternate viewpoints of artist and spectator. That is before we come =
to the problems of using images reproduced form images published in =
books about art.
Two words come to mind regarding the use of another artists product as =
direct inspiration: Sterility and Impotence.
Best regards,
Ivor Lewis. Redhill, South Australia=20
Ababi on sat 29 mar 03
Well said!
But unfortunately some people know only half, I mean they can throw they can glaze
well but they suffer from not knowing the theory, the composition.
"My" Morandi is Kandinsky but I do not copy his pictures they are deep inside me. If
people are looking at Morandi's works and take the pictures they downloaded to their
studio but when they "copy" them the pictures are away - it is fine yet the theory of
composition is the grammar of all arts!
Ababi
---------- Original Message ----------
Sterility
>and Impotence.
iandol on sun 30 mar 03
Dear Ababi,
I hope you are in good health, high sprits and that the Negev is still
a safe place to live and work.
Yes, I agree with you about knowing the basic processes and
fundamental foundations of the art and craft of Design.
However, when I look at those detailed networks of lines people
construct across reproductions of paintings showing how "The Golden
Mean" or other "Rules" have been used by artists to justify the
placement of the elements from which the image is composed I shake
with laughter.
I think those questions which must be asked and answered relate to the
notion of Inspiration. Inspiration which comes from our own
experiences, be they of our natural or constructed environment, from
our emotions or from our senses seem to me to be an authentic sources
for our own works. Inspirations which come from the works of another
artist or craftsman have a second hand mustiness about them.
An analogy might be helpful. Consider a fine wine, fermented and aged
in a new cask. A brilliant experience when it reaches maturity. But
then the cask is used to store Brandy. This Brandy, when tasted, has a
hint of the grape but it remains as a mustiness. As an experience it
may intoxicate. But it continues to be a confused collection of aromas
and flavours. We cannot be certain if it comes from wine which was
distilled or from the residues of the original wine which first
matured in the cask. If we use the work of another artist for
inspiration we cannot realise for ourselves the flavour of original
discovery.
That being said, deep analytical study of works to discover
fundamental principles employed by artists of all persuasions can
provide insights and directions which we are free to exploit or
disregard, as we wish.
I wish you well with your works.
Best regards,
Ivor Lewis
Linda Mosley on sun 30 mar 03
Dear Ivor,
I disagree with you that it is "perverse" to use
another artist's product, or the photographic
reproduction of that object, as direct inspiration.
How can the source of inspiration cause "Sterility and
Impotence"? I think impotence resides in the maker of
the object/art, not in what he or she sees, although
that certainly influences his or her output.
Who can judge what is good or bad inspiration? I am
grateful that I saw the reproductions of Morandi's
work as a student because I was curious enough about
it to take the trouble many years later to get off a
train from Faenza at Bologna to find the museum of his
work. Wow - was it incredible and inspiring.
But that doesn't mean that I went home and made pieces
that looked like Morandi's paintings, although I don't
see a problem with someone taking that on if they feel
up to the challenge of being compared with him.
Instead, the inspiration for me was to recognize how
he looked and looked again at common objects and
somehow, in painting a picture of them, created a
feeling of quiet and deep spiritual power that is
palpable. If that expression of life force in
inanimate objects is what I want to happen in my own
work, it is quite possible that I will miss the mark
and many attempts will be "impotent", but some might
have a bit of the power, and maybe eventually, say
what I feel.
I don't think anyone can judge what is proper
inspiration for another.
Best wishes, Linda
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Ababi on tue 1 apr 03
---------- Original Message ----------
>Dear Ababi,
>I hope you are in good health, high sprits and that the Negev is still
>a safe place to live and work.
---------------------------------------------------
Ababi: Yes the Negev is pretty fine.
===================================
>Yes, I agree with you about knowing the basic processes and
>fundamental foundations of the art and craft of Design.
>However, when I look at those detailed networks of lines people
>construct across reproductions of paintings showing how "The Golden
>Mean" or other "Rules" have been used by artists to justify the
>placement of the elements from which the image is composed I shake
>with laughter.
--------------------------------------
Ababi: Sometimes I showed people pieces of art, paintings, how the golden mean was
used cleverly, If you would not take a ruler you would not see it. In my paintings I used
it, not dogmatically but as I had written in my earlier letter internalized it. I do not know
or try to use it in ceramics.
========================================
>I think those questions which must be asked and answered relate to the
>notion of Inspiration. Inspiration which comes from our own
>experiences, be they of our natural or constructed environment, from
>our emotions or from our senses seem to me to be an authentic sources
>for our own works. Inspirations which come from the works of another
>artist or craftsman have a second hand mustiness about them.
-------------------------------------------------------
Ababi: Ceramics is a new media for me sometimes I have to look at other people
works to get to start. My paintings were where flat mainly runny watercolor with a lot
of water- far from the volume media I work: - ceramics. When I have lake of
inspiration, What do I do? I look at some pictures can be of one potter or of several
potters. I can "steal your spout" and make a handle like it. "Steal her foot" and make a
bottle like it.
===============================================
>An analogy might be helpful. Consider a fine wine, fermented and aged
>in a new cask. A brilliant experience when it reaches maturity. But
>then the cask is used to store Brandy. This Brandy, when tasted, has a
>hint of the grape but it remains as a mustiness. As an experience it
>may intoxicate. But it continues to be a confused collection of aromas
>and flavours. We cannot be certain if it comes from wine which was
>distilled or from the residues of the original wine which first
>matured in the cask. If we use the work of another artist for
>inspiration we cannot realise for ourselves the flavour of original
>discovery.
-------------------------------------------
Ababi: So do you offer me to make wine? To what cone you fire it?
I see sometimes potters that create medieval or biblical jars: Do they steal? No they
make them alive renew old traditions. The same way raku and shino!
Bach took a piece of Vivaldi and changed it slightly, in his time it was fine. If I would not
know it I would say it was the other way around. In that piece it was too much. Steven
Branfman, wrote about copying recipes that the spreading of the recipe is improving
it. I am sure he is right!
Again: I asked once my American niece: If I paint from a photograph of someone else
am I a criminal? She thought the right way to say I was quoting.
I saw in the net some pictures of Morandi, I was not too exited.
http://www.angelfire.com/punk/mayonnaise/Images/morandi.jpg
This is a beginner work, it is from 1975 but if you will ask I will go deep on it though I do
not like to analyze too much.
http://www.cherasco2000.com/Images/Morandi%20natura%20morta.jpg
On the other hand you might tell me: They publish his works not yours: It is true; I hope
he or his family enjoy it.
==================================================
>That being said, deep analytical study of works to discover
>fundamental principles employed by artists of all persuasions can
>provide insights and directions which we are free to exploit or
-----------------------------------------------
Ababi says: Totally agree with you
==========================
>disregard, as we wish.
>I wish you well with your works.
>Best regards,
>Ivor Lewis
----------------
Ababi says: Thank you and I wish you well with your works too!
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