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Visual Literacy |
Written by Dan Cooper
Monday, 27 June 2005
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A wealthy woman was visiting the studio of the artist Henri Matisse. Stopping in front of one painting of a young woman, she asked, "Mr. Matisse, isnít the arm on this girl too long?"
"Madame," replied the artist, "that is not a girl. That is a painting!" Visual art is a form of communication with its own language. No matter how realistic a painting may be, it is not the thing it portrays but an arrangement of paint on a flat surface. In that sense, all art is abstract and has its own rules of expression. Just as a book is made up of letters combined into words, sentences, paragraphs, stories, feelings and ideas, there can be many levels to an artwork. If someone gave you a great book in a foreign language, it would mean little to you. The same can be true with paintings-- realistic or abstract-- if you have not learned how to "read" them. There are two ways of using our eyes. The most common way is utilitarian-- labeling and categorizing things, people and experiences. We ignore visual details, seeing things in the world only as symbols for their place in our plans, and goals. Life is hectic and our vision is reduced in the service of getting things done. The other way is aesthetic, which is looking for the sake of inspiration and enjoyment in the present moment. The value of art actually comes from its uselessness. It asks us to "be" in a world that prizes doing, and encourages an open and curious outlook. Visual art allows an instant grasp of the whole picture, then unfolds as we discover the interplay of the parts. The appreciation of art is more than an elite pursuit for leisure time-- it can be a renewable source of everyday inspiration and enjoyment that enriches the rest of our lives. Unlike reading, visual literacy is not part of our education. When we don't understand the language, we're unsure about trusting our experience, and vulnerable to the opinions and motives of the marketplace. Life offers us a visual feast, but usually we just eat the menu. Many of us are uncomfortable after a few minutes looking at a work of art, but by staying beyond those first moments, your mind can shift gears and begin to understand deeper levels, to let the painting speak to you in its own silent language. It strengthens your intuition and changes the way you see even the most ordinary things. This new way of looking may be awkward at first, but like learning to read, it soon becomes natural and automatic. Here are some pointers that can develop your visual literacy and artistic appreciation: Pick a painting that has stood the test of time, and spend fifteen minutes with it. A reproduction in a book is fine for starters. Look at it and notice your first reaction. Is there a center of interest? How does the rest of the painting help focus attention there? Look at the whole and the parts to see how they work together. (Try turning it upside down and sideways.) Now look for shapes, and notice how their size and placement make up the composition. Is it balanced and stable, or asymmetrical and active? See the patterns of light and dark. (Squinting helps with this.) Lines have direction and movement, and are also the boundaries of shapes. Are they straight or curved? Sharp or soft? Vertical, horizontal, or diagonal? Colors carry feeling. Is there a dominant color, or contrasting colors? Overall, would you say the colors are "warm" or "cool?" Focus in on similarities, differences and contrast of all types throughout the artwork. Just as in poetry, shapes, colors and textures can "rhyme." Ask yourself, what is this painting about? A painting can be a snack, a dessert, or a full meal with wine and good conversation. Paintings that particularly attract you can act like a mirror to help you understand yourself, and lead you to see the world anew. The great abstract expressionist, Hans Hofmann, called this quest a "Search for the Real." Try it out and see what you can find. Article Source: http://www.ArticleBlast.com |
About The Author:
Daniel A. Cooper is an award-winning internationally-acclaimed artist whose work has been exhibited in galleries and museums throughout the United States and abroad for twenty-five years. His paintings and giclee prints grace many private and corporate collections, including AT&T, Merrill Lynch, and Wells Fargo Bank. Art Pictorial Magazine (Tokyo) praised his "meticulous, pristine and masterful craftsmanship that communicates a deep love of the subjects chosen." His "meta-realist" style is appreciated for its blend of strong composition and luminous color revealing influences from Claude Monet to Andrew Wyeth. Cooper was educated at Harvard University, majoring in Fine Arts, and studied at the Art Students' League and the Boston Museum School. He lives in Northern California, and is the creator of "E-Painting of the Week," a free email service. To sign up, go to www.dancooperart.com
Daniel A. Cooper is an award-winning internationally-acclaimed artist whose work has been exhibited in galleries and museums throughout the United States and abroad for twenty-five years. His paintings and giclee prints grace many private and corporate collections, including AT&T, Merrill Lynch, and Wells Fargo Bank. Art Pictorial Magazine (Tokyo) praised his "meticulous, pristine and masterful craftsmanship that communicates a deep love of the subjects chosen." His "meta-realist" style is appreciated for its blend of strong composition and luminous color revealing influences from Claude Monet to Andrew Wyeth. Cooper was educated at Harvard University, majoring in Fine Arts, and studied at the Art Students' League and the Boston Museum School. He lives in Northern California, and is the creator of "E-Painting of the Week," a free email service. To sign up, go to www.dancooperart.com| Comments On This Article: |
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