Posted on 09/09/2013

Photo taken on September  8, 2013

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Drawing on the Whut Side of the Brain

Drawing on the Whut Side of the Brain
I have the flu (or it feels like it) and trying to zip zip zip to recovery so that I have time to sanitize the apartment. I think the last time I was this miserable was Fall of 2010. On the other (much bigger) hand, I am fortunate to be here to have even contracted this, whatever it is. After incineration, there are no communicable diseases.

This is a perspective exercise. So fitting.

The intention was to make a drawing in which various types of perspective are present so that the whole is ambiguous. While the author (Teacher--no article--is how I think of her) explains various concepts, there is reference given to and examples from many artists all of whom I pause and look up so that I understand the material in context.

{Aside: Did you know encyclopedias like World Book and Britannica can now be purchased as digital [and continuously updated] reference tools? When the FS and I were much younger and less wise, we sprang for, I think it was, World Book. We had no business buying them from a financial perspective and the kids rarely ever touched them although the idea was to have them in the house as a resource. Consider this now when we can pick up our digital tablets or phones anytime we want, and do!, and look up anything we want and there before our eye within less than a second are, literally, hundreds or thousands of different references, including Wikipedia. Then and Now. Astounding.}

Anyhow, once the exercise time comes (they are called “problems”), these various artists and their work are floating around in one’s head along with the drawing problem at hand. It can’t help but cause you to wonder, while the pencil or markers are moving, about questions such as if art is so much a right brain thing, why do so many artists from the late 1800’s to now, living and dead, sound or seem so utterly left brain? I’m no expert but I’m betting my next VA annuity check that Durer spent almost no time in the theorization of his work. Sargent (a much more recent example, died 1925) probably didn’t trouble himself with analysis of his portraiture as he was knocking on doors asking if anyone would like their portrait painted. The closest he probably came to this was his general notion that in a portrait there is always something wrong with the mouth. Irony wasn’t part of their pictures. Theoretics were left to the physicists. As one moves along to ever more contemporary art, is it my imagination that there is both more to read by the artists themselves as well as this expository material becoming harder (in some cases impossible) to understand?

Bjarne Stokke, Hei_De.R have particularly liked this photo

4 years ago.