118


I NT ER P R ET ED B Y EACH V I EWER Richard Embrey


MODERN CLASSICS


Not all artists today produce paintings that are just decoration, or nothing more than illustrations with some kind of deep meaning.


As we now don’t seem to be able to just appreciate a piece of ar t for what it is, rather than what it says. Today too much ar t comes with an essay on the per ils or imminent demise of the wor ld etc, or just explaining what it is. Great ar t does not need this and the masters of the past did not explain their ar t and del iberately so. This leaves ar t to be interpreted by each viewer, interpretations will vary and of ten the conclusions drawn about a piece were not intended by the ar tist. Which is great and more interesting than knowing for sure, as the ar tist has over explained.


However, there are still some classically trained and minded painters, whose sole focus is to produce the most beautiful depiction of a scene they can. Showing that Art, in its purest form, has no other function than itself.


Maybe this ‘modern’ approach to ar t is due to how ar t is now taught. There has been recent cr iticism that Art History is being taught very dif ferently to how it was traditionally. Now there is not so much focus on the students doing their own research for themselves, but being spoon fed what is now ‘acceptable’ historical ar t. With one University going as far as to say that it does not matter who produced a piece


LIVE24-SEVEN.COM


of ar t, as long as it has a meaning. But most of the greatest ever pieces of ar t have no message or point to make.


This type of ar t is still present, especially in rural galler ies and this is a good thing. For if you look at a lot of ar t today, it is still inf luenced by Monet’s Impressionist style and even as far back as Constable and Turner, who could be said to be the original Impressionists. Today’s styles can all be traced back to their originators and there have not really been any new major styles for decades. We still have a lot of Cubism f rom Picasso, Street Ar t f rom Basquiat and of course Abstract Art.


ENTERTAINMENT AR T G U ID E


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132