The Herald and The Lintern

Page 13

Dining And Entertainment

(From Page 12) This artist challenges her talents by recreating events of personal experience. The ‘‘recreating" of an artist differs from the "recording” of a camera. Images revealed by the light of the moment are marked immediately on film, while the artist runs the image through the eye and out the hand. On the way they pass through the brain and are influenced by all that the perceiver has experienced until that moment, including the developed skill of discrimination. THE WORLD "out there" is raw material; in order for it to be cultivated into art, it must be refined by the artist who weeds out extraneous details, selects the aspects which seem relevant, and then rearranges them, ac-

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centing key points. “Style” is determined not only by brushwork, drawing, and color, but also by the artist's point of view. Recently I stood in a scene which captured my fancy for a picture. It contained many of the ingredients I had been dealing with in previ^ works - with some challenging twists. The setting was an art show at the Philadelphia Waterworks, down the hill from the Museum. THE MOST STRIKING aspect of the scene was the contrast of the expense of

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the pillat-enclosed pavillion with the brilliance of the surrounding trees. The first decision to be made was the point of view: whether to be outside looking in or inside looking out. By choosing the latter, I could involve the viewer with the subject of the art show, using the sunlit exterior as a dramatic backdrop. As the scene was studied from within, sketches were made to determine seale. THE VlLLARS which separate the two spaces are the most striking design element. By choosing a comer of the paYillion. three" directions could be shown: a row to the rear, a row coming forward and all of them thrusting upwards. As these lines were placed, the border of the picture could be felt; the proportions of the picture surface must be felt as the shapes are arranged on it. IN ORDER to describe the seale of enclosed space, there must be a reference point for the viewer. Pillars can be any height, and the pictures hung on them, miniatures or murals. They present, by themselves, no indication of size. The use of figures in a picture not only adds the human element but also sets the seale. By placing a figure next to a pillar twice its size we suggest that the pillar is 12 feet tall and have a reference point against which the other elements of the picture can be measured. AS THE LAWS of perspective come into play, each line or shape marked down must fit into the scheme. There must be a consistency with size or angles in order for the picture to be readable. Since the pillars have a definite position in the structure, it was by the manipulation of the figures that the composition was developed. The artist directs the figures to their positions on the stage. Each one marks a point in space and also becomes part of the rhythm of the picture.

BY CHOOSING a /oca) point (in this case, a figure

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between two pillars), the rhythm, or composition, can have a direction, leading the viewer’s attention to that spot. In nature there is no focal point, for all is equally real. In a picture, the focal point is the .keynote of the orchestrated image. Any flexible elements such as foliage patterns, the rectangles of the hanging pictures, etc., can be shifted about to harmonize with, or accentuate the main image. In this way, the artist’s point of view is revealed with each stroke.

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