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Everything posted by RomanticRealism

  1. My recently completed digital painting "Winged Victory"
  2. Here is my new painting "An Active Mind". I have larger detail images at www.vanoostromfineart.com
  3. My digital painting "The Light Within". Giclée prints available at www.vanoostromfineart.com
  4. Here is my latest digital painting entitled "A Tribute To Atlas". I have included enlarged detail images in my online gallery here: www.vanoostromfineart.com I hope you enjoy it!
  5. Yes, digital painting. The printed version is giclée on canvas.
  6. Here is my latest painting, Woman Wrapped In Silk.
  7. Architecture was a good field to convey new ideas battling to replace and improve upon traditional views, views held only because they were traditional. Contrast that with modern "art" replacing traditional art - Henry Moore's blobs replacing Michelangelo's sculpture. Of course improving on traditional art is a good thing, but with blobs?
  8. That would include a very large field. And I think that if we make sure that art includes everything nobody's feeling will get hurt. However, if I say that architecture, photography, decoration are not art, I do not diminish those creative endeavours in any way, I simply recognise them for what they are. BUT, what really irks me is that when every creation is regarded as art, when it is not, and to include every creation DOES diminish art as being unique.
  9. Okay, so what is the difference between visual fine art as I have presented it and the design disciplines? I use design discipline as a contrast because it is similar to Non-representational "art" and decoration. Decoration including abstract patterns only deal with attributes, omitting the entities they relate to; colour, texture, shape. The best cognitive level these attributes can reach are sensations. When these attributes are used in a design discipline combined with form (including light) such as architecture or jewelry design it then becomes perceptual - perceptual relationships between entities. What makes fine art unique is that it is conceptual.
  10. If you learn about the physics of sound and observe certain components that make up music and then draw particular conclusions from it, that's fine. But when you apply those same conclusions to the visuals arts, that is just rationalism - it has absolutely no basis in reality. Especially when it negates everything we already know about the visual arts - that is, it must represent actual objects for it to convey any possible meaning. When I mention clarity it is in relation to the style of an artwork. The term purity is only use in a specific painting technique which is optional.
  11. Firstly, there is an important clarification I must make. When I referred to burnt sienna as an example, I used it in the way an artist uses it to paint ie subtractive colours NOT additive colours. When subtractive colours are mixed they become darker, or "muddier" when paint is applied to a surface or in the printing process. That is why they add black to the printing process, because cyan, magenta, yellow together become too brown. Additive colours become brighter when light is mixed together ie monitors, projectors. RGB colours are additive - but can be translated to paint colours for when you want to paint your house. "periwinkle surprise" is created by adding white plus what ever colour(s). This makes it quite pastel, which is perfectly fine for a commercial paint. Now, when they manufacture artists paints they make a large range of colours for a reason - so you don't need to mix the paints too much to reach the colour you need. Burnt sienna is a vibrant colour because of the natural oxides it is extracted from - and would be impossible to replicate by mixing colours even if technically it is made up of primary colours. The glazing example I gave is a very good way to create multiple shades of say burnt sienna or ultramarine depending on the number of layers, plus a combination of glazed colours multiplies the colour options available. Now glazing is just my preferred technique - and yes glazing is the only method where you could limit your palette to magenta, cyan, yellow as you not quite accurately suggested (you suggested red, green, blue which can not work for painting since they are additive). You could create burnt sienna out of magenta, cyan, yellow using the glazing technique - but using the colours from the manufacturer is much simpler. If you want to apply paint in an opaque method, that's fine - but what is the most crucial issue here is that if the chosen subject is so important to the artist, the only way to do it justice is to adopt a style of clarity.
  12. The method is not the same but the end result is ie to clearly portray and "communicate" a theme by the artist. This does not justify "abstract art" which portrays nothing.
  13. So wouldn't the aim be to achieve harmonic sound and not just "pure" sine waves which is only one component? Are you saying harmonic sound is not "pure" enough for you?
  14. I don't get this analogy - considering that a violin can produce clear, pure tones. Maybe a better analogy would be a composer choosing between a violin and bashing a tin with a stick. This is not a good comparison to objective visual art either. I wish you could provide better examples. The above further strengthens my position: the above is an example of decoration only, just like abstract art - it has no cognitive meaning beyond the perceptual. If someone chooses for any personal reason or taste marble over onyx, a random busy pattern or simple, it has nothing to do with art. The above is an example of design and there could be any number of reasons a designer/architect may want to use a busy random onyx slab in contrast to something else or the colour may tie in with another element or.... but this is NOT an example of art as I have described in earlier posts. I would say emphatically that clarity in artistic style is moral. Clarity in style is equivalent to clarity in thought. Clarity in style is observing those attributes of entities that make it real and then emphasizing them to the viewer. Why real? It is the way in which we observe the world. One of the best examples of clarity in style is Atlas Shrugged - and why would she have done this? To convey her story/theme in a clear and succinct way. Isn't it a farce that abstract art is called abstract art when the best cognitive level it can reach is only sensations.
  15. The problem I have with brush strokes is that it conveys nothing except brush strokes, where as blending in all its forms, broad and precise, conveys form, texture & light on its subject. Vermeer didn't use thick, opaque, brush strokes because his aim was to retain the vibrant colour from his paint. His technique allowed him to do this by painting a monochrome under-painting (a bit like sculpting in 3d but on a 2d surface) so he would get all his form (including texture) and lighting developed. Then he would glaze individual thin layers of pure colour (mixed with his oil medium to make it thin). This would achieve a similar effect to a stained glass window except the light travels from the front, through the glaze and reflect off of the under-painting - brighter when it bounces off white and darker when it bounces off black, and all gradations in between. Mixing colours "generally" muddies colour (unless the colour is very close to each other on the colour spectrum). You may say that you want to muddy the colour to get brown - but why do that when you can get the pure beauty out of burnt sienna or ochre straight out of the tube.
  16. I just don't place much stock in Rand's opinions when it comes to the visual arts or music. And any one who doesn't like Bach doesn't know what they are talking about. Ayn Rand never said Bach (or even Beethoven for that matter) was not a valid choice of art - she simply said it was not her taste (not her sense of life) and explained why. Her own choices or "dislikes" do not invalidate her theory on aesthetics.
  17. Clarity to me is simply visual clarity. I do not mean photo realism which I recoil from - I mean stylised realism. To give you a small but important example say: if you observe that when you have sunlight next to shadow the light area directly next to the shadow appears brighter and the shadow next to the bright area appears darker. When an artist observes reality and recognises this, the artist can then show this and exaggerate it to achieve added clarity. Clarity in painting is important because it is a artist's choice of style - "style expresses a view of man's consciousness." Ayn Rand (she put it better than I can). Clarity in style is equivalent to clarity in thought.
  18. Okay, now you are going to really hate me! You posted earlier about what I call attributes - colour, texture, lighting (includes shadow) and implied how important they are to you and art. I posted why and how I believed they were important to visual art and how they can add clarity. These 2 paintings are a good example of how poorly colour, texture and lighting is represented in a painting.
  19. Do you mean abstract the same way I mean it? ie that the representational painting (or sculpture) conveys a broader meaning?
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