Looking at Art .an interpetive view.

Grunewald "Crucifixion"

National Gallery of Art, Washington, DC.

Looking at Art.

Different ways artists express and interpret.

 

Because of the subjective nature of engaging in art every person’s response will be different. Some will respond positively, while others will view the work in a negative way. There is therefore a paradox in any form of art criticism, the reviewer may describe the work in a literal way or attempt to interpret what they believe to be the artist's intent. This may be achieved through the recognisable objects portrayed or the general expressive mood of the art.

Often over the years many artists have told me of their considerable amusement at the interpretations of their work in the written media. This of course can be a lot of fun, as they debate with their friends that at long last they now know what they were trying to express. Many viewers of art works often don’t seem to understand the living nature of all creative endeavour, whether the work under discussion be a piece of writing or painting, they all have a life of their own. If this was not so, there would always be the danger of producing a sterile or academic piece. It seems reasonable to me that works of art need to tell us more than a  photograph would. Art works must express more, allow the viewer to gain an insight into what the creator of the work wishes to express.  There needs to be a balance between the likeness, the illustrative, and abstract qualities. Art should never be just a copy of appearance, rather it  should endeavour to tell us something more about the subject, about the hidden emotional experience. This may be spiritual, ideological, emotional, or even political.

 

To illustrate what I mean look at the Renaissance paintings presented here, one by Grunewald and two others by Perugino. A German and Italian, and examine how both have interpreted religious subject. One of Perugino's subjects is the martyrdom of Saint Sebastian a fairly gruesome subject you would think, but Perugino has the Saint standing there in an idealise landscape almost without a care in the world. A peaceful scene on a summer’s day, Saint Sebastian looks contented, his loin cloth neatly tied around his private parts, no suggestion of blood from the arrow wounds that killed him. We could go on, but as you can see this is a typical Italian painting of a sweet, peaceful, world. His Crucifixion presents the same serene world, which is Perugino contribution to art. Christ nailed to the Cross presents a similar emotional state as Saint Sebastian. His hands lay neatly on the cross, loin cloth nicely folded, no sign of blood, all set in the tranquil Umbria country side.
 

Saint Sebastian. Collection of the Louvre.
 
 
 

G "Crucifixion" by Perugino Mellon Collection.

Grunewald Crucifixion could not be in greater contrast, full of
 human tragedy. Christ’s suffering and sense of sorrow very much in evidence. This has been achieved by emphasising the distortions and disfigurement in the treatment of Christ’s body. Fingers sprayed skyward in all directions in a natural response to pain. Muscles distorted under stress, the torn loin cloth, mourners clenching their hands in grief. A dark sinister scene, cold uninviting as blood oozes from Christ’s nailed feet. These paintings although illustrative each in their own way of religious subjects have different lives. This is what great painting should be all about, the expression of the inner world of our separate consciousness. A world we connect to subconsciously.  Painting of the highest order does not need artist’s statements or explanation, its presence speaks to you by itself.

"Small Crucifixion" by Grunewald

National Gallery of Art. Washington. DC.