Art Notes

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Roger Fry

Imaginative Life - The opposite of “actual life” where we are free of fears to focus upon

the perceptive and emotional aspects of the experience, which gives us a different set of

values.




Actual Life - in this the process of natural selection have brought it about that the

instinctive reaction such as flight from danger. From this man bends his whole conscious

endeavors.

Art & Morality - Morality appreciates emotion by the standard of the resultant action.

Art appreciates emotion in and for itself

Emotional elements of design vs. likeness to nature - We may dispense for once and for

all the idea of likeness to nature, of correctness and incorrectness as a test, and consider

only whether the emotional elements inherent in natural form are adequately discovered,

unless, indeed, the emotional idea depends at any point upon likeness, or completeness of

representation.

DE CHIRICO

Presentiment - a sensation passed onto us from pre-historic man. We might consider it

as an external proof of the irrationality of the universe. Original man must have

wandered through a world of uncanny signs. He must have trembled each step.

Uncanny Signs - Chirico describes a scene in Versailles where silence and calm rained

supreme. He realized that every corner of the place possessed a spirit, an impenetrable

soul. He looked around at the statues and grew aware if the mystery which urges men to

create certain strange forms. The creation appeared more extraordinary than the creators.

Status of Recognizable material in art - We should rid ourselves of all recognizable art.

We must hold faith in ourselves and that out conceptual image have no sense in itself,

have no subject, and mean absolutely nothing from the logical point of view. The

revelation or conception should speak so strongly in us that we are compelled to paint.

HENRI MATISSE

Status of Literal Representation - By removing oneself from the literal representation

of movement one attains greater beauty and grandeur. Movement itself is unstable and is

not suited to something durable like a statue, unless the artist is aware of the entire action

of which represents only a moment.

Status of Copying Nature - Those who work in a preconceived style, deliberately

turning their backs on nature, miss the truth. When an artist is painting he should feel

that he has copied nature. And when he departs from nature, he must do it with more

conviction that it is only to interpret her more fully.

Beneditto Croce

Art as intuition vs. art as a physical fact - Art as intuition acquires significance as well

as strength from all that it implicitly denies and from which art is distinguished. What

are the negations it includes? This denies that art is a physical fact, as for example,

certain particular colors or combinations of colors, forms of the body, sounds or

combinations of sounds, phenomena of heat and electricity, in brief, anything which goes

under the name ‘physical.’

Intuition vs. Conceptual Knowledge - Conceptual knowledge in its pure form (which is

that of the philosophical) is always oriented toward reality and aims to establish the real

as distinguished from the unreal, or to diminish unreality in status by including it within

reality as a subordinate part of itself. In contrast, intuition refers precisely to the lack of

distinction between reality and unreality - to the image itself - with its purely ideal status

as mere image.

FREUD

Id/Ego/SuperEgo - The id provides for the discharge of quantities of excitation. The

id has one function, to obtain satisfaction for instinctual needs in accordance with the

primary principle. The ego controls/regulates the id. Superego deals with morality,

ideals, and perfection. It works by internalizing structures of authority.

Displacement - is chiefly responsible for our being unable to recover or recognize the

dream-thoughts in the dream-content, unless we understand the reason for their

distortion.

Condensation - The combining of several dream thoughts into one dream content.

Repression - what is rejected by censorship is in a state of repression. This happens

when the conscious mind “forgets” objectionable material. This happens because it’s not

understood or a traumatic experience that can’t be processed by the child.

Sublimation - A phychological process whereby drives, such as the sexual drive, are

transformed into different expressions, such as transforming a powerful sexual drive into

a drive to make money or to excel in a given field.

Cruelty/Sadism - The cruelty component of the sexual instinct develops in the child with

still greater independence of those sexual activities which are connected to the erogenous

zones. Cruelty is intimately related to the childish character, since the inhibition which

restrains the mastery impulse before it causes pain to others - that is, the capacity for

sympathy - develops comaparatively late. As far a Sadism goes, basically if a child

witnesses the act of sex at an impressionable age, they can’t help as conceiving the act as

a kind of maltreating or overpowering, and it impresses them in a sadistic sense.

FAUVISM

CHARACTERISTICS Intense, bright, clashing colors, distorted forms and perspectives,

vigorous brushstrokes, flat, linear patterns, bare canvass as part of overall design. Used

intense colors that have nothing to do with an objects appearance but everything to do

with his own outlook.

Fauvism and Realism - The Fauve experience was for many artists a period of

liberation, marking the moment at which they escaped from the conventions of realism

and the confines of the conventional palette to achieve a realization, on which their

future careers would be built, that the artist was concerned with the primacy of his own

personal vision, and with creating a world which he himself controlled.

Henri Matisse - credited with creating the movement of Fauvism. Nude in the Studio

188, the purity, the violence of the color conveys a sense of audacity that disguises the

resolute quest for formal coherence, inherited from Cezanne, which Matisse was never to

abandon. Too much to write about him.

Maurice de Vlaminck(self taught) - wrote ‘Painting was an abscess which drained off all

the evil in me. Without a gift for painting I would have gone to the bad. What I could

have achieved in a social context only by throwing the bomb, which would have led me

to the guillotine, I have tried to express in art, in painting, by using pure colors straight

from the tube. Thus I have been able to use my destructive instincts in order to recreate a

sensitive, living and free world.’ The Bar Counter 100 (Phoebe Wray)

Andre Derain - along with Vlaminck was making visual experiments in the same

direction under the influence of Van Gogh. He brought to the Fauves something of the

same vigor and panache as his friend Vlaminck; he too used color directly from the tube,

applied in broken lines with quick impetuous brush strokes. His most associated piece is

Lady in a Chemise 106. The multiplicity of the colors and tones, the flickering

flame-like brushwork, the exaggeration of the face and eyes, the heavy pendulous and

slightly distorted left hand, the partial use of a contour line to define those parts of the

figure which play a dominant part in the composition, create an impression of

adventurousness which in the long run turned out to be alien to his talent.

From Masks by August Macke

The status of Form - to create forms means to live. Thunder, flower, and force

expresses itself as form. So does man. As man changes, so do his forms change. The

relations that numerous forms bear to one another enable us to recognize the individual

form. Man expresses his life in forms. Each form is an expression of his inner life. The

exterior of the form of art is its interior. Each genuine form of art emerges from a living

correlation of man to the real substance of the forms of nature, the forms of art.

Form vs. the senses - The flower opens at sunrise. Seeing his prey, the panther

crouches, and as a result of seeing it, his strength grows. And the tension of his strength

shows in the length of his leap. The form of art, its style, is a result of tension. Forms are

powerful expressions of powerful life.

From On Primitive Art by Emil Nolde

Greek art / ideals - Art teachers are less enthusiastic than they used to be about the

statues of the so-called golden age of Greece. Our predecessors’ ideals are not our ours.

We now love and respect the lesser knowns in their plain, large scale carvings in

cathedrals.

Primitive Art - Why is the art of primitive people’s not considered art at all? Primitive

people create their works with the material itself in the artist’s hand, held in his fingers.

They aspire to express delight in form and the love of creating it. Absolute originality,

the intense and often grotesque expression of power and life in very simple forms - that is

why we like these works of native art.



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