Leave faces in

After realising that Rembrandt’s magic is in the apparent humanity of his faces ….

Who is doing the work of imbuing drawing with anthropomorphic qualities (let alone emotions) by translating mark into mood, him or us? Rembrandt is no better a draughtsman than many other artists (viz his pupils), yet his work moves us. How does he trigger our emotional responses?

If isn’t any colour in nature, as scientists are keen to tell us, so that we have to create it with our wonderful brains, is this how everything visual works – are we all creators all the time?
Should we be more in awe of ourselves when we are moved or altered by art, while recognising the role of the artist as that of an enabler of our synapse function?

John Berger (of course) wrote that Titian and Bellini ‘were not gods. It is only the scholars who think them that.’ His character who thought that (in A Painter of Our Time) is an artist who is reassured a little while looking at Bacchus and Ariadne in the National Gallery, by the realisation that ‘the only thing [painters] share is the magnitude of the difficulty we face: the technical difficulty’.

Random musing, perhaps to take pressure off as I try and work away from line towards tone again. Get technical things working and leave faces in.

 

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