Tattoo Energy Models
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US $1,299.00
When I paint, I'm not trying to capture the image of a landscape or a figure. My subject is the painting itself. Nevertheless, some viewers immediately try to specify an image you can name in my art. Not that seeing things in abstract painting is a crime, but the artist did not put in place. But you miss the opportunity to see if you to spend all their energy trying to turn the painting into something we can mention, as a figure or a flower or a landscape.
What we really see when Looking at the painting? Color, form, line and texture are the physical elements that combine to form the image. A selection of dark, heavy shapes may impress to as dark, light, airy images as mystical; balanced, temperate forms as peaceful. The shape, color and form have meaning in themselves. We react emotionally to these elements, even if they create no recognizable object for us to hang onto. Therefore, a painting of ragged, forms angular deep reds will evoke an entirely different feeling of the soft curves of yellow and black.
The management of space, or the illusion of space, is another element in the portfolio of the artist. Are you drawn to a world of three-dimensional space extends beyond the frame of the painting, as it could be in a landscape? Or keep visually taut, as a skater on a pond of its volume through a two-dimensional surface? The impression of depth, perspective, light, sturdy, and other spatial relations are created and controlled by the artist.
The overall composition or design of a painting is what guides the viewer's gaze. Any you ever seen a picture or photograph and felt it was losing balance? One of the big differences between amateur snapshots and professional photographs is the quality of the composition. In an amateur photo, perhaps all the action centers on the left, with nothing but empty space on the right. The imbalance gives you a feeling of discomfort. (Of course, an artist can use this unease deliberately as well.)
The composition is a fundamental tool an art student is taught. The goal is to have a balance of visual elements without making the weight so balanced that the art becomes boring. If everything is left exactly right and top to bottom, you can have balance, but is loses interest.
Getting the right of the composition, or balance of the elements of color, line and form, maintaining a dynamic tension is a major concern of the painter. If you add a blue brushstroke to the corner lower left, for example, you may need to change something in the upper right corner because of it. You can not concentrate on one section at a time, ignoring the rest of the material, and hope to finish with a composition that works.
Energy is the life force that is present in all good art. This is not something that is easy define, but it's the opposite of static plane. It is this energy that makes a painting speak to you, and makes an artist's work original and identifiable as work of this artist. Energy is created from the artist's materials and tools, but in the end is more of the media in the same sense that a musical composition is much more than a collection of notes.
The next time you see a summary or "modern" painting, do not start looking for some identifiable object your world. Instead, try to enter the world by the artist. Relax and let your eye wander calmly through the paint surface. Let your heart and mind react their colors, shapes and textures. Be seduced by the illusion of its spaces, the action of its lines, and the mood of its atmosphere.
Step back and observe from a distance table. What is their impact as you approach it?
Move up close and study the complexity of the strokes, thickness paint and details of the composition. See how the pieces interlock to form the whole.
Give time to painting. No work of art can be understood and appreciated in a ten second glance. Good art should grow on you more and more interesting and more enjoyable to watch as you live with it.
You can still see things abstract paintings, birds and trees and find hidden animals in the forms. This is as natural as turning clouds into recognizable shapes. But when you open your eyes to the possibilities of the world the artist created, you can see more than you ever expected to see in abstract art.
Copyright 2006 Lynne Taetzsch
Lynne Taetzsch is an artist and writer who has published books with Van Nostrand Reinhold, Regnery & Co., Watson-Guptill, and Faber & Faber publishers. Her contemporary abstract paintings have been shown in solo and group exhibitions throughout the world, and she currently has a studio in Ithaca, New York. Visit her online art gallery at http://www.artbylt.com
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