tag:blogger.com,1999:blog-8927844633054607259.post7886791616006208255..comments2023-10-30T05:12:58.554-07:00Comments on Suzanne DeCuir: Suzanne DeCuirhttp://www.blogger.com/profile/10513228329466411191noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-8927844633054607259.post-69069231256288030902010-02-08T06:47:34.429-08:002010-02-08T06:47:34.429-08:00All of you raise so many interesting points about ...All of you raise so many interesting points about the many, impossible-to-untangle influences combining to create new ways of making art (and poetry)- it's hard to imagine that even the artists themselves were aware of every influence working on their imaginations. About haiku, I don't know the history of its development - thanks for raising that. What is "flwright"?Suzanne DeCuirhttps://www.blogger.com/profile/10513228329466411191noreply@blogger.comtag:blogger.com,1999:blog-8927844633054607259.post-71378845547865749762010-02-05T15:00:31.919-08:002010-02-05T15:00:31.919-08:00interesting thoughts.
while i agree that influenc...interesting thoughts.<br /><br />while i agree that influence flowed in both directions (in the 1600s as well, witness vemeer's kimono-wearing astronomer, and a progression of durer/turner/constable etc minimalist landscape painters), i believe that while yes, while an awareness (and thus representation) of such "scientific" things as perspective, and shadows and reflections, the influences in the other direction were, artistically, more profound.<br /><br />the asymmetrical framing was learned from hiroshige's horse's hindend more than anything in that image was learned from the west.<br /><br />not to even mention the west's beginning to outline and simplify in color planes most all of the visual arts.<br /><br />i will also go as far as to say that free verse was made possible by introduction to the haiku et al, flwright by portrait's of japanese theaters and homes, and modern drama by No.<br /><br />and the west's embrace of buddhism.lotusgreenhttps://www.blogger.com/profile/04393867916489599891noreply@blogger.comtag:blogger.com,1999:blog-8927844633054607259.post-20119303646848486042010-02-05T14:42:52.240-08:002010-02-05T14:42:52.240-08:00Hi Suzanne,
Your illuminating comments on 'f...Hi Suzanne, <br /><br />Your illuminating comments on 'finely disregarding' some things to find new things, or new combinations of things, triggers . . . <br /><br />my musing about how the amorphic swirling stew of the cultural-societal-political geist (ie, not just artists' formal developments) influences artists' evolving view of what they conceive as 'reality'. <br /><br />For instance, in Place de la Concorde, there's a specific, more contemporary feeling of urbanity evoked by the people who, though quite proximate, pass without acknowledgement or recognition, lending a sense of the isolation one can feel in crowded cities. Also, Lepic's leaning forward stride has a momentum, akin to the quickening pace of cities. A multiplicity of individual intentions in the girls & dogs looking/going in different directions, and a psychological fragmentation evoked by the images cutoff by the edge of the frame -- contribute further to evoking a more 'modern', than pre-industrial, urban reality. <br /><br />The City's energy is so upclose, one cannot see it as whole object, at arm's length. Its diversity and volume perhaps can't be gleaned from one perspective viewpoint. It encompasses us and our narrow view. <br /><br />So, I guess I'm trying to agree with what you said -- more succinctly -- about how there are many sources for the evolution of artistic ideas and innovations. <br /><br />The deliciousness of the artistic pursuit -- making and investigating -- seems to me, to be the numberless vantage points from which to perceive and enlarge one's view. And reflect on how we conceive 'reality'. <br /><br />Thanks Suzanne, for your investment of time & talent to share lovely, specific insights. Inspiring, as Bill says!Unknownhttps://www.blogger.com/profile/05317767454631427932noreply@blogger.comtag:blogger.com,1999:blog-8927844633054607259.post-38079608885590106782010-02-05T11:05:45.056-08:002010-02-05T11:05:45.056-08:00I would be interested to hear the thoughts on Gagu...I would be interested to hear the thoughts on Gaguin and Matisse because splicing certainly can't account for the flat color...would be interested to know what does. It seems like such a leap.<br /><br />I was photographing some horses the other morning and they kept turning said hindquarters towards me! Very rude :)Arthttps://www.blogger.com/profile/07615345242334094697noreply@blogger.comtag:blogger.com,1999:blog-8927844633054607259.post-74608277067833702182010-02-05T07:44:47.758-08:002010-02-05T07:44:47.758-08:00Very good juxtapositions of works to illustrate th...Very good juxtapositions of works to illustrate the points that you and Varnedoe make. I liked the post and look forward to further stops on the "road to flatness".<br /><br />By clicking on your facebook link I found my way to your website, where I enjoyed seeing your paintings. Perhaps you might consider putting a more prominent link to the site here on your blog. I did later see that one is included under <br />Blogs I enjoy sidebar, where, incidentally, I was touched to see you have included me. Thanks.Lorenzo — Alchemist's Pillowhttps://www.blogger.com/profile/07522265816460154722noreply@blogger.com