All renderings, by their nature, contain themes... most artists, however, having only that 'sense of life' to guide them in deciding what is to be produced, are generally not consciously aware of just what it is that is the theme... it is, therefore, usually treated as if it were a consequence, an underlining intuitiveness that comes out, if at all consciously, AFTER the fact... indeed, it is usually the result of some emotional reaction to the 'scene'... Art, however, is NOT concerned with actual events or occurences per se - it is concerned with their metaphysical or fundamental significance to, properly, the rational being [because rationality is the fundamental aspect identifying what a human is and without which it could not survive, even if it is not always applied by individuals]... this, significance or importance, of course, is according to the artist him/herself, understands it and communicates that thru the work to the viewer... learning to consciously apply themes is one of the means of elevating pen and ink renderings to being considered as Fine Art - for, even if in landscapes, its use aids in figuring out the best way to render via size, arrangement, color scheming, and so forth... if one is consciously aware of why one wants to render something the way and manner one is considering, then its end result is a vast improvement, a concisement of objectives achieved, and a greater satisfaction over seeing the end result, the consequences... further, it also fuels creativity in that variations and similar theming ideas tend to come into thought, bringing more renderings to work on, and a more fulfilled life of being an artist...
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I'm still here, but a bit dizzy from thinking about all the things that go into fine pen and ink painting. I see that I have a much further way to go than I thought. If my drawings have a theme, they are keeping it a secret. And I see nothing of connatations or poetry. I write short stories and some poetry, but as yet my drawings are just that...drawings. There may be some poetry in the pen strokes...stippling is very concise.
ReplyDeleteI need to think about this further. My head is spinning with the effort and I would like to hear more about this these topics, if you have a minute...
Why do you draw what you draw? is it for the objects seen? how they are placed in the view [assuming a landscape]? the shapes and/or colors? in the case of portraits [human or animal], why that facial angle as to others? if cropped, why [or why not]? is it for seeing a character in the subject, an emotion or mannerism? or as an example of a type? or do you accept what it is that you draw without asking why - because in the asking, you're attempting to discover just what it is that is so important about that particular rendering that you wish to show to others, what sense of life is displayed that you agree with [ and usually yes, one shows what one likes and agrees with, rather than the opposite, because it is important - what one not agrees with, while important, is not used for contemplative purposes but for propaganda, for seeking to change another's view to one which agrees with you]...
ReplyDeleteThemes are often so elusive because one is not taught to think about them, but to take the interest of the rendering as a 'given' and proceed from there... yet, in discovering just what it is that give rise to doing not just a particular work but in doing it in a particular way, with particular emphases makes for a more integrated work, and as said feedbacks in variations and increase, thus, in creativity...
Sorry if all this seems so more than you expected... am not trying to discourage or dissuade but merely to offer a means of increasing ones understanding of what one does with their art - as I see it... it works for me, but it may be just something that evolved out of my uniqueness, and others may see no use of it for themselves... perhaps it would help to think of possible themes which may be involved in, say, your horse portraits for instance, beyond the mere likeness - shyness, nobility, suspicion, gentleness, craftiness, strength,tiredness [like walking home after a day of working out], curiosity [expression or reflection in the eye(s)], disdain, motherness [esp. with a colt], and the list goes on... am sure you do not do ANY horse portrait - some more interesting than others - so ask why, and the answer ye see is the theme, what it is ye see that is of importance enough to render that way instead of another way, or not at all...
ReplyDeleteAnd the same can all be said of your renderings of buildings, and so forth...
ReplyDeleteI wrote this all out a few minutes ago and it wouldn't post and lost everything I wrote. I'm sure I can't remember everything I wanted to say and I sure can't remember how I wanted to say it, but here goes...
ReplyDeleteNo need to apologize. I am thrilled to be learning. I see what you mean about themes...now, with the examples you gave.
I was never taught to see themes in my art or anyone elses. I have no art training whatsoever. What you see, is what you get. In grade school my art instruction amounted to drawing around my hand to make a turkey...and high school...forget it...they never had a teacher...so no art class.
So...no art for thirty years. But with a computer and internet access a whole new world opened up for me. The old fire to create came back and armed with some basic knowledge, I am back to drawing. But want to know what others know...and without sounding silly. It is probably too late for that part about not sounding silly.
At fifty-something I'm finding it hard to understand what others find so basic. I want to know what they know...within reason...of course...
Do you have any suggested reading...that covers themes, etc? Or is that dumb...to look for the answers I'm seeking in books. Maybe I can only find them in doing...been doing and still feel lost...
Thanks for you time...bet you didn't know you were going to be tutoring a rancher in the art of creating and understanding fine art...
Will have to look in my library to see if have a theme book... oddly, I never knew any of this myself until studied philosophy, reading especially The Romantic Manifesto in newsletter form in the late 60's, by Ayn Rand, and studying the first four chapters - which deal with her view of aesthetics in general [the rest is all about her views of literature]... further, if accepting, as I did, her aesthetic views, tho her examples pulled from literature [well, after all, she was a writer], I strove to transliterate them into visual art terms, something which I found very few others doing, and none of them artists... but, when I decided back then that being an artist was what I really always wanted to be, I still knew just doing scenes and odd still life would not do - I had to know why I wanted to render what I wanted to render the way I wanted to render, and there was no other source I found which helped, as art teachers said "paint by your feelings" or "temperament" or whatever - but never by your mind, despite the fact your mind is the means of knowing...
ReplyDeleteAnyway, while most others said her views in art were not applicable to visual art, I disagreed, and worked out my solution, which is in manuscript form, tho parts have been excerpted over the years... I can only say it works for me - as see the evidence of my works... I make no claim [much as wish could, and indeed believe it so] that it'll work for anyone else who agrees with those four chapters delineating the basics of aesthetics...
To add - as far as I am aware, NO ONE is taught theming like this in art, anywhere, aside perhaps from some form of composition and creativity - and even there, the emphasis is on FORM, not content as such, which, for example, is why so many still life of today look 'thrown' together, and when theming does come about, it is usually in the manner of propaganda works [which are NOT fine art, however well the technical aspects]...
ReplyDeleteThere is a book, Jack Clifton's The Eye of the Artist, which I use as a basic for beginning any understanding of art - perhaps you might find that of some help, tho again, it is likely to just be from how the artist sees in terms of FORM in composition [been many years since last read it]...
Lastly here - I think would be a good idea if i had another theming section in which examples are given [and yes, from my own works of years ago] which will show what this is about, so there'd be no misunderstanding, since it seems a sort of foreign subject to some...
I believe a person should never quit learning and so I have ordered a copy of Koestler's Act of Creation. A little light reading.
ReplyDeleteI find writing and art have a lot in common. Words are used to create mental images much like the strokes of a pen combine to create visual images. Both, done well, cause people to feel...
While in the process of searching for the right words to express myself, I have been checking out Ayn Rand...very interesting. Will look further into this... I can see your philosophy in the bits and pieces I have read...Cool!
I hope others are getting as much out of this discussion as I am. Later...Loranda