Hey, Tim Jones, here.
It has been several weeks since my last post in this series on art, but my schedule was cruelly interrupted by some paying work. Things have slowed just a bit, so I want to encourage all of you to VISIT MY WEBSITE.
Idle hands are the devil’s workshop, y’know.
In my FIRST POST, I offered a framework for thinking about the different aspects of man-made objects (design, decoration, illustration and fine art).
In the SECOND POST, I broadly defined some categories of visual art (realism, abstraction, non-objective and non-representational art).
Now I want to talk about the implications of these categories for artists, offer some views on the opportunities that visual art presents, as well discuss the problems and strengths of different kinds of art. This time we’re talking about realism.
THE GREAT THING ABOUT REALISM
– I love impressions. One of my favorite TV shows (briefly) as a kid was called Copycats and starred impressionists like Rich Little and Frank Gorshin. Not long ago, I caught part of a TV bio of Dean Martin, and saw some old footage of Frank Gorshin doing an impression of Martin. It was a really good impression. Not just kinda good, but dead-on, scary good, which made it hilarious. Gorshin (who played the Joker The Riddler on the original Batman TV series) could do that. Dean Martin was entertaining to watch, but Gorshin’s impression showed everyone what it was that made him entertaining to watch. Gorshin studied, analyzed and practiced Dean Martin until he was almost more Martinesque than was Dino himself.
This is the kind of power that realism can have, whether we are watching an impression, or looking at a work of art. Great realism can grab people and stop them in their tracks. At an art exhibit, you might hear people saying things like, "Wow. How do they do that? I can’t even draw a stick man.". This is perfectly natural, and nothing to be ashamed of. People admire great skill, whether they see it in art, hear it in music, watch it demonstrated in dance or in any other human endeavor.
Neither artists or art lovers need to apologize for appreciating, or striving for, a high degree of realism. It not only can have great visual power, but is one of the few ways of actually measuring artistic skill (gasp!!). Oddly, this makes it seem both controversial and dangerous to some. Though most people readily acknowledge that not everyone can be a great musician (just watch American Idol), or dancer, or athlete, there are those who behave as if everyone is born an artist, and the one thing we must never talk about is whether they deserve the designation.
I earlier offered a very broad definition of abstraction, saying that every piece of art, even the most "realistic", is to some extent an abstraction. I will add to that a very broad definition of realism as any faithful representation of the physical world. This doesn’t necessarily mean expressionless copying, or one-to-one reproduction of every detail, but simply art that is inspired by and faithful to the physical aspects of reality. This broad understanding of realism can include a wide range of styles, from hyper-realism up to and including impressionism.
Realism can be quite expressive. Simply in the selection of the subject, the composition, the lighting, or the surroundings, a straightforward realistic depiction can express quite a bit of subtext. In other words, a lot of the artist’s self expression can be present before the brush ever touches the canvas. A good deal of it can happen at a subconscious level. This is one reason that I tell my art students please not to worry too much about self expression, as it will happen on it’s own as they mature and develop their skills.
The work of Ralph Goings (left) is a good example of highly realistic art that functions effectively as an authentic artistic expression. In his obsessively observed and subtle renderings, we can get a sense of why he paints the things he does. He finds great beauty and interest in the most mundane objects and settings. He apparently loves to hang out in diners, and that means he can’t be all bad. His stuff is just fun to look at, and you get a sense that in his work he celebrates his fascination with everyday life.
In terms of learning, realism is by far the best way to start developing the physical and perceptive skills that a good artist needs. For this reason, there was for a long time a strong emphasis on realism in academic art training. Not that realism ought to be an end in itself, but it is a natural starting place for visual art. Every discipline has rules, and you need to know the rules before you can meaningfully break the rules.
The work of Nicolai Fechin (left) is a good example of art that is faithful to reality, but also ventures into meaningful abstraction, and even a kind of expressionism. A typical Fechin painting includes interesting abstract passages, highly energetic brushwork, bold use of color and an obvious love just for the paint, itself. But holding all that together and transcending it, is Fechin’s clear understanding of light, space and physical form. A study of his work reveals a deep knowledge of anatomy and the subtleties of the human face. Frequently in his work, the realism of the face serves as an anchor for the rest of the piece.
THE PROBLEM WITH REALISM
– Realism is this property of faithful representation, but if that is all that realism is (in other words, if it is only the work of a highly trained copyist) then it will fall short of what art should be. If the artist is not capable of infusing into the image some sense of how they think or feel about the subject, then it does indeed fall flat. If this is the case, then all painters could be replaced by photographers, and don’t let the door hit you on the way out..
A painting can be a very realistic representation and still be trite, silly, dull, or in any number of other ways, just bad art. There is such a thing as an accurate, but lifeless, representation.
A great deal of 19th century academic realism was bad art. It sometimes seemed to be a cold, academic exercise. At the opposite end of the spectrum, it was just as often the victim of maudlin sentimentalism. The same problems plague artists to this day, and are hardly unique to realistic art. Modern art suffers much from the same diseases. There is such a thing as calculated spontaneity, and manufactured angst.
Great realistic art doesn’t just give us a dry representation of the subject, but also highlights and enhances what is unique about the subject, as well as offering some insight into the artist’s feelings about it. The caricature of Orson Welles (at left), by the famous Al Hirschfeld, is a great example. Hirschfeld had a wonderful knack for reduction, simplification and enhancement. If Welles’ head were really shaped like that, of course, he would be in a long-term care facility. No one’s head is really shaped like that… and yet, somehow the drawing looks just like Orson Welles. Hirschfeld departs from strictly literal realism in order to emphasize the most Welles-ian aspects of Mr. Welles. He distorts, but (and this is important) it is a lovingly faithful distortion that draws its inspiration from Welles himself. Hirschfeld studied Welles… in a way, loved Welles. It seems a simple drawing, but I guarantee that it was not simple for Hirschfeld
In addition to what the image says about Mr. Welles, though, we have the delightful calligraphy of the drawing itself, the crisply rendered shapes, the flowing lines… overall, an elegant simplicity combined with an exuberant energy and humor that begins to tell us a great deal about the artist. This is art (simple as it is) that is firing on all cylinders. It is the result of preternatural giftedness (talent), combined with careful study, hard work and enthusiasm.
This highlights the important distinction between a work of art as a representation of something else (subject), and a work of art as an interesting and beautiful object on its own. Great art is both.
Next: "Modern" Art, and Why Art is Important.
