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Posted
These are better (apart from the last one) but if this is student work does that mean he's spent the last sixty years painting rectangles? Poor chap! Imagine waking up in the morning wondering what to paint today....I know, I'll do some more rectangles. A bit like a sheep wondering what to have for breakfast.
Before you get cross I'm not being serious, I'm sure he's done other stuff as well.
Posted
I visited an art gallery this morning, to see paintings that I have previously seen online, and was struck by how much more impact the paintings had in real life. I do think we have to hold judgement until we are standing right in front of an art work and then see what emotional, or other impact it has on us. ( I don't wish to offend anybody who can't easily get out to galleries).
I went to see some Rothko's years ago at the Tate Modern, I think. I was the only person in the gallery and just looked at them for a long time trying to understand them. After a while of not really understanding, I realised that I felt enveloped by the colour, it was surrounding me, and the mood of the colour was enveloping me as well. It turned out to be quite an emotional experience. So I think it is about approaching art in an open way, an emotionally open way - and not bringing our critical minds along. Sometimes it's about feeling as well as seeing, but I don't think we get that response unless we're in front of the real thing.
Posted
Late to the discussion reference Sean Scully…….
I do like Jenny’s example’s above and his early none- abstract art. To see them at this size has terrific impact and turns up the dial of interest for me.
They have harmony with a twist, and I think it’s that twist that catches the eye and curiosity to look a little longer.
For example….the left hand painting in Jenny’s first photo, the bottom left block of two neutral colours. The off-set turquoise block in the right painting.
The white notch top right in the second photo? The hazard lines in the third photo,and so on.
They all have something ‘uneasy’ in their symmetry……it puts me on edge, if that makes sense. 😂
I think abstract art is considered (wrongly) an easy get out for artists that can’t paint. From my own experience, I find abstract art more challenging and difficult than painting, for instance, a landscape or still life. It takes longer to choose a subject, to plan, to put together, or take apart…….and paint!
Good discussion.
Posted
Hi all, I've arrived very late to this but it's been a fascinating read. I agree totally that once you see an artwork in the flesh you may get an unexpected reaction. I went to an Abstract Expression exhibition at the Royal Academy a few years back and suprised that I really liked the Rothko paintings I saw. I can't say I cried in front of them but actually seeing how they had been put together had a sort of impact. I think it always helps to distance yourself from what the Art world says is wonderful and just make your own mind up. Critics are only there to spark debate.
If you are still looking in Peter you might recall me mentioning seeing some of your work in the flesh recently - it really makes a huge difference when you can see the heart and intention that's gone into a painting.
No one is ever going to impress absolutely everyone and yes, it's irritating reading about all the hype and the prices these things go for, but to have an effect on even one person who is a stranger to you, is quite a thing when you think about it. Some of us are simple souls, and get affected by the simplest of things and wish to share them with others or even just do the subject justice. That's the challenge and the point I suppose.
Sorry to ramble!
Posted
Just looking in on this to say I enjoyed Russell's comment: I needed something to make me laugh after a rocky start to 2026. and he provided it.
Abstract work sails rather high over my head, in general; and I can't do it - I have a too-literal mind; though I think of Mondrian (without putting myself in his company) who started out as a classical painter of figurative works, and became increasingly drawn to abstraction - maybe there's hope for me... if hope is what I really mean. I don't think I particularly want to paint abstracts - but have to agree about the actual impact of them when you see them as the artist intended, in the flesh. Something can then happen - it did for me with the Rothko red paintings, Sarah will know the ones I mean; suddenly, they made sense - because they weren't striving to make sense; they were just there. And THAT probably makes no sense at all, but - I know what I mean ... sort of.
I am not attracted to Scully's work, as yet at least; maybe the pin will drop one day.
Posted
First off I do appreciate ALL art. When I started out I was given the job of painting out a huge garage, and I mean huge, I used big brushes and gallons of paint. The manager was impressed with the art I had made and thinking I was an artist he asked me to go out on the front of the building to touch up a large sign which I did. I was only a temporary worker but the manger again was impressed. So I was given the full time job of the firms sign writer which I had an enormous learning curve to fill in and get it right. Unfortunately the High art connoisseur did not see me out side on the front of the building so my big chance was missed. They found someone else on the high street I expect. What I am saying is it is not the artist it is the art market men that make the artist. An art lecturer pointed that out to me at one time. So now when I look at all the wonderful art out there on the internet I fully agree with that statement. After all look at all those wonderful women artist in history never even been given a look in. Please understand I am not trying to discredit Sean Scully it’s been fortunate for him. I trust you can understand the point I am making.
So help me God👀
Edited
by John Graham Inkson