More on art? Yes. David Hockney has re-awakened my creative soul!
The conspicuous incongruity of a Roman garden fresco as the preferential image for this article is not lost on me; as colour, subject matter and placement machinated and conspired en masse to announce the wealth of the commissioner. Mel could lecture at length on the subject, from her dissertation research.
“The best of beauty is a finer charm than skill in surfaces, in outlines, or rules of art can ever teach, namely, a radiation from the work of art of human character, – a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes. In the sculptures of the agrees, in the mastery of the Romans, and in the pictures of the Tuscan and Venetian masters, the highest charm is the universal language they speak. A confession of moral nature, of pure, of love and hope, breathes for them all.”
– Ralph Waldo Emerson, “Art” 1841
Both Mel and I would – and should! – have failed Art History upon espousing the abstruse – and equitable! – realisation of the human condition and its inspiration of works steeped in the sensation of emotion and individual circumstance and surroundings; additionally, not confined to the life-affirming; yet, capturing corresponding exigence. This epiphany may have come at a cost to my first degree; elucidating the environs of the creator, and how these stirred his choices: use of colour; palate knife versus paintbrush; chiaroscuro?; however, it is precisely with this intuitive and human eye that I categorically maintain all art should be received, for only in this manner can we distinguish incentive.
For one who is susceptible to humanity, whilst immune to the trappings of “culture” is the finest and most enlightened critic.
National Gallery, anyone?