Comments on: Style vs Content in Art

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By: David Booth

David Booth — Tue, 15 Nov 2011 06:10:29 +0000

Not to knit-pick, but what this thread seems to be referring to as “realism” is more accurately called “classicism”. Classicism (uncapitalised, as an adjective. Classicism capitalised refers to a specific artistic movement in history) refers to the formulaic representaion of subject in as close to a 1:1 ratio as possible. In short, if your aim is to depict your subject as accurately as possible, you are shooting for a more classic style. Classic style is the foil of romantic style, which is less concerned with accuracy and more concerned with expression. Kathe Kolowitz was a romantic. There are reasons why you might look at a work of art and think that it looks like sh*t, but you have to know the history, and you have to understand the theory before you can criticize. Artwork is not something to be taken at face value-but I digress. Like all things that are opposites, there is a spectrum in between-you can be somewhere between classic and romantic, really it’s not something you want to try to categorize yourself into-it will limit your natural expression of the world.
Realism, like Classicism (capitalised) refers to another specific period of art history that had less to do with depicting figures accurately for the sake of being accurate, and more to do with depicting them in such a way for socio-economic/political reasons.
Like I said, I don’t want to sound like a know-it-all but you have to understand that in order to be taken seriously in this field you have to know what you’re talking about. There’s nothing more destructive to your cred as an proper artmaker than not using the vocabulary correctly.
I’ll leave you all alone now. Sorry if I sounded like a jerk-was not my intention-I was just trying to impart my entire education on you in a nutshell..anyway, pick up that text, its well worth the bones, and you’ll pick up a lot of theory if you’re looking to be a serious artmaker. If anyone would like to know more I’d gladly answer any questions I can to the best of my ability-shoot me an email and I’ll see what I can do for you.

By: David Booth

David Booth — Tue, 15 Nov 2011 05:42:19 +0000

I have one answer for all of you who might question the validity of the author’s remarks:

Aesthetics: A Reader in Philosophy of the Arts, by David Goldblatt.
To answer the tail-end rhetorical question of the original post, you are only a philistine if you are unappreciative. To say that you don’t understand, and then assume that you are correct because you don’t understand, is to be narrow-minded. Questions of art are not answered in a single turn! These things take lifetimes, and there is no one answer.
There are however, conventions. Conventions, in this case, hold powerful arguments. Speaking as a fine-arts major, with a dual minor in art history and philosophy (take my credentials for what you will), I can tell you that content is fluff. Content is essentially an excuse to paint, and the more you focus on content, the more you ignore style, and the more professional artists will look at your work as ‘cheap imitations’ or ‘craft’
How do we discern a Matisse from a Picasso? Ingres from Delacroix? Carriere from Rosetti? They all painted figures! To be blunt, nobody gives a sh*t that they all painted figures, what really mattered-what defined each and every one of them, was HOW they painted them. A Picasso would still have just as valid if “demoiselles d’avignon” was a painting of a group of snails. Would it have the same meaning? for the sake of this point I’m making, meaning is irrelevant-at best, secondary.
In short, pure artwork, in the professional realm, should stand on style alone. If your work is totally reliant on content, its not artwork, it representation, and that’s what we have point and shoot cameras for. Go take a photograph and make your life easier. There is a reason why painting didn’t die with the advent of the photograph-there are aspects of painting that can never be captured on film, and this is why we paint. If you are painting a picture to look exactly like your reference, you’re wasting your time. Don’t paint for the stigma of painting, paint for the fact that there is a unique nature, sublime and inherent to the medium, that can be captured with that brush that cannot be recorded through a lens.
If you haven’t already, take a color theory class. Take a lot of them, because its not an easy concept to grasp for most-but it is step one of a proper understanding of contemporary painting.
Hope something I said helped, sorry about the length.

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