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Showing posts with label seeing. Show all posts
Showing posts with label seeing. Show all posts

Friday, 28 June 2019

Review: To See Clearly: Why Ruskin matters

My latest piece for Church Times is a review of  To See Clearly: Why Ruskin matters, by Suzanne Fagence Cooper.

In this exquisite book, 'Suzanne Fagence Cooper gives a masterclass in how to write well about a subject who was as expansive as she is concise and as florid as she is focused, while sensitively — even poetically — summarising the many insights imparted by her subject.

Her focus is on John Ruskin’s belief that sight is fundamental to all insight, whether poetry, prophecy, or religion. So, this is a book about a purveyor of words who encourages in those who listen or read the discipline of attentive looking.'
Earlier this year I reviewed, also for Church Times, “John Ruskin: The Power of Seeing” at Two Temple Place:

'Ruskin was a man of many words, who believed that, through drawing, one had the power to say what could not otherwise be said. He built his reputation on the power of his words as an art critic, author, and lecturer, but his subject was the power of seeing, because, for him, the teaching of art was “the teaching of all things”. He believed that the “greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way”. “To see clearly”, he said, “is poetry, prophecy, and religion — all in one.”

Art, then, is an expression of “the love and the will of God” to which we gain access primarily by looking closely at the splendour of nature.'

Click here to also read the earlier review.

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Antonio Vivaldi - Gloria.

Friday, 15 March 2019

Review - John Ruskin: The Power of Seeing

My latest review for Church Times is of “John Ruskin: The Power of Seeing” at Two Temple Place:

'Ruskin was a man of many words, who believed that, through drawing, one had the power to say what could not otherwise be said. He built his reputation on the power of his words as an art critic, author, and lecturer, but his subject was the power of seeing, because, for him, the teaching of art was “the teaching of all things”. He believed that the “greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way”. “To see clearly”, he said, “is poetry, prophecy, and religion — all in one.”

Art, then, is an expression of “the love and the will of God” to which we gain access primarily by looking closely at the splendour of nature.'

In a review for ArtWay of Adrian Barlow's book Kempe: The Life, Art and Legacy of Charles Eamer Kempe I noted that:

'The legacy and reputation of many significant Victorians is complex and contradictory because their often great achievements were fashioned on the oppression of Empire and the superiority and arrogance which fuelled aggressive expansion presenting exploitation of others and their natural resources as being the introduction of civilisation.'

In addition to the Kempe review, my exhibition review for Church Times covering 'Edward Burne-Jones: Pre-Raphaelite Visionary,' at Tate Britain and 'Seen & Heard: Victorian Children in the Frame,' at Guildhall Art Gallery also explores the complex legacy left by the Victorians.

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Florence and the Machine - Big God.

Sunday, 22 December 2013

Paul Klee: Making Visible

I recently visited the excellent Paul Klee: Making Visible exhibition at Tate Britain. Klee was meticulous in documenting his creations and recording his reflections on the processes of creation. Here are some of my favourites from among his many reflections:

"Art should be like a holiday: something to give a man the opportunity to see things differently and to change his point of view."

"Art does not reproduce what we see; rather, it makes us see."

"The painter should not paint what he sees, but what will be seen."

"Art does not reproduce what is visible, it makes things visible."

"Formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see. Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities."

"Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will."


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C.O.B. - Soft Touches Of Love.

Friday, 6 July 2012

Seeing in new and different ways

John Dillenberger's A Theology of Artistic Sensibilities: The Visual Arts and the Church remains a significant contribution to our understanding of the visual arts and faith with its summaries of the engagement that the Church and theologians have had with the visual arts throughout church and art history.
'Since the church has had little regard for the visual arts as such and only a partial interest in architecture, the result has been that the arts and architecture have not had the nourishing spirit of the church. They have been left to themselves - indeed, to the creation of their own spiritual perceptions, whether nourished within or without the church. The artists did not desert the church; the church deserted the artists. this means, of course, that those in the church believe that fundamental realities are expressed elsewhere, namely, in its verbal, word-forming, defining, and naming activities.'

'... language lost its powers of imagination and became that which declared, defined, set limits. In contrast, painting is a suggestive, showing-forth modality, which in the light of what we know, wrests nuances of meaning.'

He quotes Langdon Gilkey: 'Art makes "us see in new and different ways, below the surface and beyond the obvious. Art opens up the truth hidden and within the ordinary; it provides a new entrance into reality and oushes us through that entrance. It leads us to what is really there and really going on. Far from subjective, it pierces the opaque subjectivity, the not seeing, of conventional life, of conventional viewing, and discloses reality."' 

Similarly, he quotes David Tracy: 'In a genuine work of art, "'caught up' in its world, we are shocked, surprised, challenged by its startling beauty and its recognizable truth, its instinct for the essential ... We recognize the truth of the world's disclosure of a world of reality transforming, if only for a moment ourselves: our lives, our sense for possibilities and actuality, our destiny."'

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Jan Garbarek - Molde Canticle.