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Archive for January, 2016

Degas was the ultimate master.

He used his own original systems of composition, not old sets of rules and strictures. In fact, he appears to delight in breaking the rules, as in having people walk out or the picture. This is because he was the first and maybe the only master to see that the frame is not a panel, but a window, and that the artist’s universe continues beyond the frame, in brushstrokes and painterly textures.

In “Absinthe”, the two characters are placed well back into the picture plane, and trimmed by the right edge of the frame. A series of table tops lead into the pictorial space

Absinthe, by Edgar Degas

Degas. Absinthe. 1876

The table tops are bare and devoid of cutlery. There are no chairs. The tabletops levitate, float in air, with no legs and nor are they are cantilevered from the wall.
This is composition. This is genius.

In “Jockeys”, the viewer is standing in the middle of the restless horses, turning and stomping around us.
This is composition. This is genius.

In “Snowstorm at sea”, Turner paints from the depths of the storm as if he were a seagull, or lightning itself.
This is composition. This is genius.

In “the Maids of Honour”, Velasquez observes the scene from outside his own body, through the eyes of the King of Spain who we see in the mirror on the far wall.
This is composition. This is genius.

These kinds of compositions are not calculations, nor are they accurate observations. These are visions, artistvision.

It is good to remember Mozart’s remark on genius, “Love, love, love alone, is genius.”

As artists, this is our mission. To see with the eyes of God.

 

 

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