To my mind a realistic approach does not limit creative imagination, which I thoroughly agree is a part of all good art. There are those who take the stance that realism in art curtails the full expression of the individual that is merely imitation rather than creative expression. If realistic art were limited to the camera and the duplication of its effects, this might be true, but it must not be so limited.
In thinking of realism, let us not confuse it with literalism. Let us think of life as a great source of material from which to draw, selecting only what is pertinent to the things we have to say. We cannot use it all, or say it all. Let us recreate, as does the good writer of fiction, the poignant truths of life in so far as we are capable of discerning them for a purpose. Literalism devoid of purpose can be most boring. Detail must have purpose, or there is no reason for it. To be interesting, it must contribute conviction to a thought which in itself is interesting. The Creative thought is the delicate balancing point between good and bad in art.
There is a vast difference between an uninspired and literal rendering of life and what we may call applied realism. Rather than to project realism for its own sake, our real purpose is to add realism to a creative idea of basic interest. We depend upon realism, then, to embellish or to fortify our creative thoughts. The idea, within itself, may be totally abstract or pure fiction. But so that the idea will not remain abstract, we strive to make it convincing and plausible by giving It all the feeling of actuality that Is possible. This is applied realism.
Realism in art does not stand in the way of individual expression but becomes an important bridge between artist and spectator. We can take it for granted that the spectator's interest is not in how accurately we can see, but in the personal experience he has in looking at our picture. Our vision may not differ greatly from his own, but our presentation and the thoughts behind it may give him a new experience. Creativeness may lie in giving reality to invention, fact to fiction, tangibility to the intangible, and conviction and power to things more felt than seen.
In the good art of today we sense a stripping of the folderol to get down to essentials eliminating all elements that distract from a forceful presentation of the idea. The background of a picture is no longer a matter of space-filling; it is eliminated unless it contributes to the main thought. But since life moves against a background its portrayal cannot always be left dangling in space. When the background lends force and reality to your subject, it should not be cast away unthinkingly because of fads or mannerisms.
Realism can have simplicity and function, resulting in greater beauty, instead of merely reproducing the haphazard multiplicity of nature. There can be dramatic and dynamic interpretation of the obvious, if we have the ability to perceive and portray it so.
Let us admit that much of the realistic art produced today is mediocre. This is not the fault of art or its principles, but is due to the inadequacy of the artists. Their failure does not invalidate the principle of realism; life does not cease to be a force merely because some individuals never learn to live.
The reason so much realistic art today is mediocre is that good art must come the hard way. We dabble and daub in freedom of expression and in paint. We know too little to make good use of either. We may thank God for the freedom man has fought for and attained, but we must use our intelligence to understand the real greatness of freedom in individual expression. We must work to produce art just as we must work for the right to live in a free nation. Work in art is not so many labor hours, for time has nothing to do with it. To one, understanding may come at the age of twenties; to another, at fifty. Some will never comprehend the laws of form, color, and life. Life is the source, the only available source, and art lies therein.
How about individuality? No two of us will come away from nature with the same facts, for no two people have the same comprehension of her truths. We differ in personality and talents, and therefore no one can actually duplicate another’s performance. Successful drawing is intelligent drawing with independent thinking. Knowledge in art is a combination of individuality and whatever facts the artist has assimilated. It is like an equation between the things we feel and the things we hear and see. Without the artist’s individuality, drawing is not art, but only a statement of fact, yet the artist cannot get along without some facts. Working knowledge is the sum total of a thousand and one small personal decisions. It results from trial and error, comparisons and final acceptance of one way as against another: this must be so because that is so; this appears to be this way because that is that way. I draw this point because it is under that point; this seems brilliant since that appears dull, and so it goes.
Relatively few positive assertions can be made about art instruction that will fit all circumstances. Since all things are relative, we can speak of unity, but the specific relationships must be discovered in the actual problem. Many students search despairingly for an exact formula that will steer them to a definite and certain goal, when actually each problem demands its own solution and each result is an individual answer.
There is no way to produce, except to gather all possible facts and work with them as you will. Be assured that most of your knowledge will come from contact with life, both within yourself and from the outside world. It is the artist who is limited, not the source. Let him go to art with respect and reverence for the greatness of this thing we call reality, grateful for being a part of it, and for the freedom of doing and saying his bit about it. Let him rejoice that he may trust his own feelings, giving only his own version of truth and beauty; if his effort is worthy, it will be appreciated with warmth and enthusiasm. Life and the individual’s feeling about it are the only real sources of creative inspiration in art. Art can do no more for him than he can do for art.
Category: Art
