Gabriel grun...surpassing reality.

8 min läsning
"imaginary portrait of de Marie Sabina"

There isn’t a contemporary painter, at least not one that I know of, that does not hold a secret desire to be able to create a canvas with the exacting skills to the levels of the Italian Renaissance Artists.

In the contemporary art world the theoretical rabbling of a whole battalion of academics, art critics and curators over the last five decades have successfully weaned young artists off the concept of viewing past art and developing ‘skill’ or ‘talent’ as the prime tools for an accomplished art creative ambition.

Once upon a time they argued that emotionally content coupled with abstraction was the only essential artistic process to express the 'inner self.' After the dogma of the early twentieth century it then became usurped by the intellect or rather the dogma, that it was the ‘idea’ of the art, that was more important than emotional or spiritual content. And whoever created the ‘Art’ itself was actually irrelevant, unimportant or necessary.

Which is pretty much what was presented by and in the shape of the ‘stars’ of the then contemporary art world in the latter half of the twentieth century. However, there has been a change in attitude and viewpoints (certainly by them that choose with painting) since that grey time in art.

The web has. in a relative short period of time, democratised visual art and freed it to a large extent. We witness the daily posts on social media to what is probably the widest array of visual art that has been publicly available or seen on a global level for centuries.

However, the historical Duchampian form of conceptualised art hangs on in the inner circles and in the minds of the many of the Academics who seem like creatures from a horror movie (the living dead).

They appear to insist to go blindly espousing their one sided view of art and ignoring or in some cases not always in private, dismissing the many visual artists today who choose to paint within a classical style or a realistic style. They label them non-progressives, or backward-thinking or worse still, non-contributory artists for a new millennium.

It is probably the realist paintings that still attract the most venomous institutional critic by way of simply ignoring them. After all they’d say, what is the point of copying something in front of you, when we now have the digital camera?

To a great extent and as a painter myself, I do tend agree with that statement. What I think they missed with their myopic thinking... ...It is the process of painting itself that changes the absolute reality. One that entails a

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