Painting-08·29·2013 will be more about painting and drawing, while all other allegiances will subjugate themselves to my act of making this a first-rate visual statement! You can see this happening in yesterday's drawing too. The hands are much to large for the man, and various other human body-parts are bent to the will of the composition, yet the forms, and the space they inhabit, work together, in unison, to make formal, emotional, and compostional sense. Last weekend I saw an excellent version of Picasso's wonderful 1934 print Minotauromachy at the Hood Museum of Art on the Dartmouth College campus. Picasso work, more than that of any other artist, hits me, over and over again, with the intelligent and emotional sensation forced upon the viewer by a multi-layered, multi-faceted composition. His are compositions NOT dominated by any one formal restriction. This force in perception is as much to do with the arrangement of forms as it is to the reference of forms to those which we call real. Reality is that which we perceive in our daily walks through life, and art is the lie that makes us perceive reality more clearly (to paraphrase Picasso). Viewing Picasso's Minotauromachy helped make my quest very clear.
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