LANDSCAPE and ABSTRACTION METHOD
Dilettante
"Select some small and intimate corner of a landscape which has
positive character and distinct features with which one can come to
grips, rather than a widespreading vista. First, make a
straightforward lively sketch of the view using any medium: if this
does not satisfy you, make several drawings until you have one which
does.
Drawing in this way will provide you with an intimate knowledge of the
forms and their arrangement as nothing else can. And even though you
may work directly from the landscape for the two principal drawings,
keep the best of the first sketches by you. Reference to it will help
in solving problems arising from the abstract quality of the new
drawings.
Part B
The first new drawing will attempt to show the dynamic vigor of shape
possessed by the principal objects. Observe closely the nature of
their spatial extension--how they swell or thrust and in what
direction their planes and curved surfaces move. ...attempt to
simplify the objects (rocks, trees, etc.) to a shape which clarifies
and reveals the dynamic movements of their mass in three-dimensional
space."
This movement varies between the extremes of a point thrust, the
thrust of angled planes, and the swell of a curved surface.
"...try to produce a drawing which intensifies the manner in which the
object presses against space--that is, show its characteristic spatial
extension.
Part C
"Our second major drawing in this exercise is one in which the objects
will disappear to be replaced by linear signs signifying the natural
forces at work in the landscape. These forces may themselves be
capable of moving through space (wind, running water), or able to
cause the movement of an object through space (gravity, growth
forces).
The three types of linear movement which are signs of such
activity...are
1. the thrust moving in a straight line..." such as " the vertical
growth of a tree or plant, or the downward pull of gravity--the
vertical line opposed by the horizontal line,
2. the coiled line moving around a central impetus like a spring:
think of currents in air or water.
3. the curving swelling line of expansion, distributed over a large
area; think of the wind, of tide water, of the scooping force of
glacier movement, or the radial vibrations of heat energy that may
crack a rock.
...translate your first sketch into a drawing which corresponds to
these forces at work in nature.
...it will be an intuitive feeling for this dynamic activity in nature
that will govern your choice of lines and their arrangement.
The drawings...should help you to feel free to shape and manipulate
form for your own ends, and to develop schemes of linear activity
which may be used generally in future work, without any specific
landscape context. They provide one introduction to the art of total
abstraction. But it should ...be remembered that the plastic life of
forms, and the linear movement of a point in space (which is a line
and a force), may relate to our own psycyhological experiences as as
to physical phenomena.
A passive form soothes and relaxes. A vigorous three-dimensional form
made up of active lines, or spatial turbulence, can quicken the mental
life and arouse deep and powerful feelings. And we are free to use
form and line to serve these ends. The interested (person) should go
and look at the landscape drawings of Vincent Van Gogh to see line
working in this way."
-------------
this passage from Graham Collier in the book, Form, Space and Vision.
Thur
"Dilettante" <hu...@myself.com> wrote in message
news:ba63903f.03121...@posting.google.com...
> Part B
>..show the dynamic vigor of shape..<
>..their spatial extension..<
>..reveals the dynamic movements of their mass in three-dimensional
> space.< etc.
Without a glossary here there can be no common understanding.
> Part C
>" the vertical
> growth of a tree or plant, or the downward pull of gravity--the
> vertical line opposed by the horizontal line,
The downward pull of gravity? Are we in a Physics lesson here, or
trying to interpret what we see?
I think poetry should take a back seat when discussing such
practicalities.
I do not deny that there are lines and points (and many other features)
which can be used and highlighted or extended upon for use in artistic
interpretation, but given the above, we could all make whatever we
wanted from it.
Thanks for the quotes, which caught my attention.
My preference is to hear a spade called a spade.
Thur
Dilettante
>
> > Part B
> >..show the dynamic vigor of shape..<
> >..their spatial extension..<
> >..reveals the dynamic movements of their mass in three-dimensional
> > space.< etc.
> Without a glossary here there can be no common understanding.
Where you are concerned, this is true.
>
> > Part C
> >" the vertical
> > growth of a tree or plant, or the downward pull of gravity--the
> > vertical line opposed by the horizontal line,
> The downward pull of gravity? Are we in a Physics lesson here, or
> trying to interpret what we see?
> I think poetry should take a back seat when discussing such
> practicalities.
Then how did you recognize them as practicalities, or are you just
complaining about writing style?
...given the above, we could all make whatever we
> wanted from it.
Yes, and the great artists did exactly that, which is exactly the
point.
> My preference is to hear a spade called a spade.
And mine is to call a geek a geek.
Dilettante
keith o'connor
--
take care: Keith
The eye should not be lead where there is nothing to see.
Robert Henri - The Art Spirit
"Dilettante" <hu...@myself.com> wrote in message
news:ba63903f.03121...@posting.google.com...
Mani Deli
and mine is that most artschool babble is of no practical value.
"Conservatives are not necessarily stupid, but most stupid people are
conservative." -John Stuart Mill
Tired of Modern Art? check
http://www3.sympatico.ca/manideli/
Dr. Slick
> >
> > > My preference is to hear a spade called a spade.
> >
> > And mine is to call a geek a geek.
> >
> >
And mine is to call a dweeb a dweeb.