I recently quoted Leanardo Da Vinci, the highly accomplished and acclaimed artist on my FaceBook page as saying that,"Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen." Soon after I posted this, it got me pondering at the truth of his statement. And someone made me even more curious by posting the following comment, "…there have been paintings i have stood before and felt something….i saw it and felt a stir in the innermost recesses of my being…..but Leonardo said this?
Painting is poetry that is seen, but can't it be felt as well?
In all or most of my paintings, I believe and try that my work should have a physical & emotional appeal, and to boot, as much texture as possible! So Leonardo the great, you are both right but also wrong!
I have quoted below, some comments about some of my work and how my paintings have evoked feelings when they were viewed:
– "Beautiful visually and works very well – tags at the heart."
– "Stunning portraiture …totally evokes the emotion stated in your title…fabulous artistry!!"
– "I love that the Spirit figure is lovingly cradling what could be a nest with small birds, or a whirlpool with beings at the center. Either symbol works for me. And he seems to be balancing everything, with his body position, keeping things level and in check, which again would symbolize the care given to our need for peace and restitution. Very thoughtful
and meaningful, Eddy"
-"…I like the powerful emotion you display in this work of art. Just wonderful to study."
– " guess I could spend an hour analyzing and discussing this. Allow me now, just to say that, again, this is one of your finest works. It’s a beautiful story within a story— a child amazed at the largeness of a “human”, and our enchantment with the idea of creative imagination of the statue’s artist, and the artist’s tiny audience of one, under five years old, bound in amazement! But you go deeper, into the already three dimensional space, and tell another story about the art on the back wall, the backdrop of life, so to speak— history, shifting cultures, escape from the danger of one country to the relative safety of another; what is one man’s history is really the world’s history. And you anchor this story, figuratively and literally, with a candle of hope, chaining the two stories together, allowing us to draw analogies about the largess of mankind…"
– "This work actually humbles me. It’s so moving and the thought process involved with the creation of the backdrop astounds me."
– "Eddy, this now tops my favorites of yours. My gosh this is inspired, inspiring, and beautiful. I love the gorgeous hands. The sky full of mystery and promise, beautiful symbols, the meaningfulness of the work… all touch my soul." And here is one of my personal favorites,
"Viewing your work is like having a “aesthetic orgasm of the senses”… if you don't mind me saying".
Even Leo Tolstoy agrees with me when he was quoted as saying, "Art, he believes, is a sincere emotion transferred from an artist to others and, as such, is a uniquely human activity. Tolstoy defines genuine or real art as the communication of emotion transferable to, and felt by, all persons; consequently, art is to judged by the universal (religious) spirit of brotherhood of an age. Great art, he thinks, unites humanity." (Leo Tolstoy, What Is Art? Translated by Aylmer Maude. London: The Brotherhood Publishing Company. 1898)
Thus art and painting for me is, a vehicle and a tool for making inner thoughts and feelings visible and, therefore, more objective. Thereby giving me an inner peace when that communication has taken place.
The Proof Is Also In The Touch
At a very early stage in my artistic development, I had come to realize that I needed an art form or style that could communicate to all human beings. Whether they were rich, poor, blind, deaf, young, old, I mean everyone. And to achieve this, I started to introduce texture to my paintings which made it possible for the visually challenged to enjoy and interpret my work for themselves.
So while at a recent Art & Poetry workshop (see more photos in my Facebook Album, video on Youtube), I intimated participants, on the need to communicate feelings through art to all, even to the blind. I challenged them to interpret my art with their eyes as well as their hands. And though the interpretations were different, there was a consensus that something was being communicated by the artist to the viewer and the 'feeler'.
In conclusion, whether all of this should be considered a yardstick for measuring of good art is still under debate and has been for as long as I can remember, and might still be well after I'm gone.