The great landscape painters did not create the scenes in front of them. Imagination came in with their figurative depiction of the scene, but is that much different to a photographer using tilt, swing and finding a perspective/choosing lenses? What about Vermeer and the use of a camera obscura? Isn't his work just as dependent on perspective and distortions of perspective as a large format photographer in creating an altered impression of the scene?
Originally Posted by Diapositivo
There isn't any difference in the creative problem solving with the apparition in front of a painter and photographer, their ability to solve this problem is formed and applied through their perception of the known and the seen. With painters who 'make up' their scenes, the objects are still things we would recognise - appropriation more than imagination. The imagination is only in the arrangement. A figurative artist can only depict, whether his scenes are in front of him or not. Painters do not create forms or likenesses of things that they haven't seen in the world around them. Nothing starts from nothing.
We can't attribute value to a piece of art based on whether it is additive or reductive, the only difference is the thought processes adapted and the tools used (which are both physically applied to varying degrees). In modern art a blank canvas is only nothing until we decide it's something.
I agree that art must grab you from... the gut upwards. But it's like a little epiphany, a whole body experience. There is a great clarity of thinking involved in our response, a realisation, which is a big part of why we respond 'fully' the way we do to great works. It opens us up.
Last edited by batwister; 10-21-2012 at 06:37 PM. Click to view previous post history.