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1. Shanley wrote: beautiful work, Five! |
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2. golehto wrote: nice work five :) |
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3. Normal wrote: Wonderful glassware. |
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4. debray wrote: What a shining beauty!! |
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5. chelydra wrote: MUCH better than Morandi! Ever hear of Walter Murch (circa 1880-19860)? |
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6. chelydra wrote: Better than Murch too, though. |
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7. chelydra wrote: The playback is beautiful. |
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8. five wrote: I had to look up Murch; it's hard to get a good read on his work online (true for Morandi too, but I've seen a couple of his paintings). It would nice be to see Murch's in person to see the interplay between the surfaces and the depicted objects. I never |
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9. five wrote: thought Morandi cared much about his object -- his paintings seem more about ambiguity/duality of form and figure/ground than the objects themselves. I could not quite capture that on TD. Maybe if I do the same objects over and over? |
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10. lilalee wrote: A true beauty!! |
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11. spam wrote: A wonderful piece of work beautifully done. |
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12. chelydra wrote: You IMPROVED on Morandi, quite a lot I'd say! (He's my all-time unfavorite artist.) Just use him as a starting point! |
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13. five wrote: Out of curiosity, why do you dislike him so much? |
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14. chelydra wrote: His ideal seems to be boredom - no colour, no emotion, no nothin' as far as I can tell, other than a bit of fussing around with arrangements of inanimate objects. If Cezanne does a still life... |
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15. chelydra wrote: ... with muted colours, it's orgasmic. Morandi's are just flat and blah! (Murch is a bit boring too, perhaps, but at least he's got virtuosity in his brush.) |
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16. chelydra wrote: I expect (Morandi would have regarded virtuosity as crass populism, an insult to Art.) |
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17. Qsilv wrote: I rather thought Morandi was just trying to survive in the Fascist milieu. |
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18. Qsilv wrote: This interpretation by five, however, is far more translucently 'alive'. ;> |
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19. five wrote: I find Morandi's work when he's at his best- pushing the ambiguity of figure and ground, background and foreground -- sublime. Small, subtle and quiet at first, then, with continued viewing, quite captivating; there's a lot of color in his grays and brown |
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20. five wrote: s. It feels like he was after stilling dynamic equilibrium similar to Mondrian but different in style. I saw one of his still lives in the same room as one of Cezanne's still lives with apples; quite something to see together. |
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21. five wrote: Not all of Morandi's paintings succeed, though. |
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22. gocards wrote: love the transparency |
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23. chelydra wrote: Well, anyway, your Morandi is a smashing success. |
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24. chelydra wrote: I do like Mondrian, especially after seeing an exhibit of an imitator's work, which revealed how perfect the originals are. |
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25. chelydra wrote: Dynamic equilibrium... Is that related to Dynamic Symmetry (a.k.a. golden mean, 1:1.618, etc.)? If so, I'll have another look at Morandi. I'm spouting off on the basis of a 40-year-old memory. |
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26. five wrote: I mean equilibrium along the imaginary diagonal - getting everything to sit simultaneously on one plane, not background/foreground/midplane but one plane -- or more accuately to hover in a way that the marks seem to sit on that plane (e.g. generally blue |
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27. five wrote: recedes, yellow move forward but both can be made to do otherwise to some extent). if you imagine the space of the 2D picture split up along marks that seem to recede or move forward between a set of infinite planes from front to back, trying to get all |
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28. five wrote: those forms to seem restrained to one plane among the infinite. Morandi vacillates more than Mondrian. On the the best of Morandi, the line between the background and the back of the table runs across the same place as object breaks so the objects can b |
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29. five wrote: be simultaneously individual -- the cubic box -- part of a larger object-- the bottle == and part of both the background and the foreground. Another way to look at it, imagine the picture frame itself aka window frame turned 90 degrees, how much do the fo |
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30. five wrote: forms protrude -- Mondrian tried to get them all to protrude the same but not in a dead way, so they hovered within a very narrow range around the same plane. Morandi at his best seems to do the same within a slightly larger range than Mondrian. The gol |
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31. five wrote: The golden mean is relevant in that that ratio registers on the 2-D plane as balanced -- part of the puzzle, but you could offset it within each range unless within each range you again applied the ratio ad infinitum -- too technical and you can lose the |
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32. five wrote: the feeling to the technicality |
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33. five wrote: and even then, the color tendencies can interfere in the structural balance |
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34. five wrote: Bottom line -- sit in front of one of the better Morandi's-- the actual painting not a picture -- for a while and see if it doesn't come to life for you |
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35. five wrote: Interestingly, while we may forget, Cezanne focused on translating perception over symbol and cubism was about "realism" from the start -- Picasso/Braque were dissatisfied with the ability to know relative distances from the front of the picture plane to |
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36. five wrote: the tip a figure's nose inside the picture. Later, the multi-perspective approach took its own direction |
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37. five wrote: and we flattened beyond any ability to measure or ascertain relative distances |
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38. chelydra wrote: Holy cow... And I thought I was full of theories about space and perception... I'll have to study this again later... |
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39. five wrote: ha, I've extended all of this into my own theories about marks that anchor and/or float and/or both.... I've thought a lot (too much?) about space and perception. |
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40. chelydra wrote: I discovered marks that anchor and float after I finished digesting my only full dose of acid in the fall of 1969. That was the same time I discovered Marin, Villon, et al. |
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41. chelydra wrote: Did I suggest already that might want to check out 'Mercedes Matter pastel' on youtube? |
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42. five wrote: I just looked at the video -- beautiful work. Thanks for the recommendation. |
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43. chelydra wrote: As predicted, I now get it, thanks. Most of it anyway. The really relevant part, which I didn't even see before, is about spending time with an actual Morandi painting and letting it come to life. By the way, I think your explanation of cubism puts mine t |
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44. chelydra wrote: Any readers who (a) got this far, and (b) want more, can find this discussion continued over in the community forum, at Mugdots Challenge LV. |
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45. chelydra wrote: And Qsliv, whose remarks were ignored here, gets a better reception over there. |
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46. chelydra wrote: Message 43 is supposed to end with"to shame. But then I was explaining not Cubism per se but "Mild Cubism" which is quite different." |
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47. chelydra wrote: Actually what Qsliv said is pretty interesting. If you're trying to fly (paint) under the radar of the Fascist police, how better to do so than by limiting yourself to bottles on shelves, with the labels washed off to avoid any suggestion of a covert mess |
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48. chelydra wrote: ...age? Certainly a lot safer than paintings full of living beings, movement, color and energy, which could be seen as promoting the idea of freedom and humanitarian ideals! (Unless you're a Futurist, in which case you thrown in a lot of the latest machin |
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49. chelydra wrote: ...ery, depict the people and horses as flying robots, and thereby promote the philosophy of Fascism itself. |
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50. chelydra wrote: ) |
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51. five wrote: If you think about it, such supposed blandness could be subversive criticism as well. Though, I don't know that there's any evidence that he was being subversive. |
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52. Qsilv wrote: oh practically anything acts as evidence to those who want to see it that way... *wicked twinkle* |
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53. Qsilv wrote: But one can arguably add the most layers of "life" to the blandest subjects --and I just feel that he did it that way very purposefully. (I also thank you, five, for your deep AND clear explanations.) |
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Date joined: 8 Feb 2009
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