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Ancient Rock Painting
There is no such thing as art, only artists.
The so-called artists, who used to draw a bison shape on the stone walls of the caves with colored soil, now buy paint and design advertising paintings for poster boards;
In the past and now, artists do many other jobs.
It is just that we must firmly remember that the name art is used in different periods and places, and the things referred to will be very different, as long as we understand in our hearts that there is no art in capital letters, then it does not hurt to call all the above work art.
French Impressionist painter Paul. Cesar. Ellie Sketch
In fact, capital art has become a monster to be feared and an idol to be worshipped. If you say that an artist's newly completed work may have its own merits, but it is not art, it will make him laugh at himself. If a person is admiring a painting and you say that what he loves on the picture is not art, but something else, it will also overwhelm him. Actually, I think there are legitimate reasons to love a sculpture or a painting. Some people will appreciate a landscape painting because it reminds him of his hometown, and some people will love it because a portrait reminds him of a friend. There is nothing wrong with this.
The french sculptor Rodin created the statue "The Thinker", which portrays a powerful working man. The giant bent over, bent on his knees, his right hand on his chin, silently watching the tragedy unfold below. His deep gaze and the fist-clenching gesture of his lips showed a feeling of extreme pain. He longed to sink into "absolute" meditation, trying to constrict and bend his strong body into a ball. His muscles were very tense, not only concentrating on thinking, but also immersed in distress.
When we see a painting, everyone can't help but recall many things that affect their love and hatred. As long as they help us appreciate what we see in front of us, we can let it go and don't worry about it. It is only when we are prejudiced by the thought of an unrelated matter, when we subconsciously turn around and ignore a magnificent picture of a majestic mountain because we do not like to climb, that we should ask ourselves what causes our disgust and destroys the pleasures that we would have enjoyed in the picture.
Wheat Field with Crows is an oil painting by the Dutch post-impressionist painter Vincent van Gogh in July 1890. The usual explanation is that the painting is marked with a dark, harsh sky showing van Gogh's mental state of distress, with three paths wandering in different directions, with the black crow overhead as a sign of death.
There are indeed untenable reasons to disgust a work of art. Most people like to see something on the picture that he also likes to see in reality, which is a very natural tendency. We all love natural beauty and are grateful to the artists who keep it in their work. We have that kind of fun, and the artists themselves live up to their expectations.
Portrait of Nicholas, son of rubens painter Circa 1620, black and red chalk, on paper, 25.2x20.3cm Albertina, Vienna. The great Flemish painter Rubens, when sketching his little boy, must have been proud of his beauty. He wants us to appreciate the child as well.
Portrait of Dürer's Mother painter, 1514, black chalk, on paper, 42.1x30.3cm Kupferstichkabinett, Staatliche Museen, Berlin. However, if we oppose more prosaic works because of our love of beautiful and moving subjects, then this prejudice can easily become a stumbling block. The great German painter Albrecht Dürer must have been filled with sincere love in painting his mother, just as Rubens treated his round-headed child. His painting is such a true expression of the old man's troubled evening view of Mulberry Elm that it may shock and deter us. However, if we can suppress the disgust at first sight, we may be able to gain a lot; Because Dürer's sketches are so vivid that they are masterpieces.
Street Children on the Streets of Murillo, oil on canvas circa 1670-1675, 146x108cm Alte Pinakothek, Munich
In fact, we will soon realize that the beauty of a painting does not really lie in its subject matter. I don't know if the ragged little children that the Spanish painter Murillo liked to paint were really beautiful. However, once the painter draws it with a stroke of his pen, they do have great charm.
Pittle de Hooch Interior Drawing of a Woman Cutting An Apple 1663 Oil on Canvas, 70.5x54.3cm Wallace Collection, London Conversely, most people would think that Pieter de Hooch's wonderful Dutch interior painting of the child looks mediocre, but nevertheless, the work is fascinating.
Melozzo da Forli Angel circa 1480 fresco local Pinacoteca, Vatican
Part of the altarpiece of the Angel of Memling circa 1490, oil on wood, koninklijk Museum voor Schone Kunsten, Antwerp
When it comes to beauty, the trouble is that the taste of appreciation is very different for something that is not beautiful. The above two paintings are both 15th-century works, and they are both depicting angels playing the stringed piano by hand. In contrast, many people will like the elegant and feminine works of the Italian painter Melozzoda Forli (above), rather than the one of his northern painter Hans Memling (below). I myself love both. It may take a little longer to discover the inner beauty of the angel painted by Memling, but as long as we stop dwelling on his slight ingenuity in his movements, we will find him infinitely lovely.
Guido Rennie's christ on a crown of thorns on his head, oil on canvas circa 1639-1640, 62x48cm Louvre, Paris
Tuscan painter Christ's head circa 1175-1225 Crucifix partial wood plank egg glue painting Ffizi, Florence
This is the case with beauty, and so is this with artistic expression. In fact, what influences our love and hatred for a painting is often the way a character on the picture is expressed. Some people like expressions that are easy to understand and therefore deeply moved by. When the 17th-century Italian painter Guido Reni painted the head of Christ on the cross (above), he no doubt wanted people to see on this face all the pain and all the glory of Christ's death. In the centuries that followed, many drew strength and comfort from such a picture of the Savior. The emotion expressed in this work is so strong, so obvious, that its facsimiles can be seen in the simple shrines on the side of the road and in remote farmhouses, where people know nothing about art. Although we like the expression of such strong inner feelings, we should not dismiss works whose methods of expression may be difficult to understand.
The medieval Italian painter who painted the Passion of Jesus must have felt as much about the Crucifixion as Rennie, but we must first learn to understand his painting technique before we can understand his feelings. As we come to understand the different languages of painting, we may even feel more fond of works of art whose methods of expression are not as obvious as Rennie's paintings. Just as some people prefer people who are short-spoken, have few gestures, and have a lot of room to guess, some people prefer paintings or sculptures that have a lingering afterglow for them to guess and speculate. In the more "primitive" period, artists were not as good at expressing people's faces and gestures as they are now, but it was often more touching to see that they were still trying so hard to express the feelings they wanted to convey.
There are indeed some things in the Louvre, who separates them from an ordinary wall?
A metaphor can be used for morality. We all know that there is no set of aesthetic laws that God created for the world, just as there is no perfect code of conduct. But as members of a certain group, people still choose today as if they were not giving, because charity is a kind of indulgence, although yesterday it was still mercy and virtue, and such a tram problem, although unsolvable, is always given the answer. There is no ethics, but there are laws and laws in the world, and likewise, there is no art, but there are artists. Artists try to legislate for aesthetics, persuade others with sensitivity and enthusiasm that something should be more beautiful, so slowly some people find that it seems to be right, we follow them, but capital art is dead, we do not follow them.