{"id":1917,"date":"2021-12-06T21:35:27","date_gmt":"2021-12-06T19:35:27","guid":{"rendered":"https:\/\/mymanet.net\/?p=1917"},"modified":"2023-05-27T23:43:03","modified_gmt":"2023-05-27T20:43:03","slug":"on-paintings-diagrams-and-exhibitions-p22","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/12\/06\/on-paintings-diagrams-and-exhibitions-p22\/","title":{"rendered":"On Paintings, Diagrams and Exhibitions (P22)"},"content":{"rendered":"

Sometimes life interferes in significant ways with the plans of human beings \u2013 actually, it does that on a quite regular basis.<\/p>\n

In my case, the plans for this post were intercepted by the Annual Exhibition of the J\u00e4rvenp\u00e4\u00e4 Art Society of which I am a member.
\nAspiring to full membership, I need contributions accepted by the jury.<\/p>\n

So, I submitted these three paintings:<\/p>\n

Figure 1: My contributions to the Annual Exhibition 2021<\/p>\n

\"\"

“After Matisse”<\/p><\/div>\n

\"\"

“A Bar near Folies-Berg\u00e8re”<\/p><\/div>\n

\"\"

“Seeing Being Seen”<\/p><\/div>\n

The event clashed with my plans into different ways:<\/p>\n

    \n
  • The preparation of the three paintings submitted took much more time and effort than anticipated. That may be considered a rather usual miscalculation on part of a novice in the \u201cart business\u201d.
    \nBut it made it necessary to postpone the publication of my post.
    \nSorry about that!<\/li>\n
  • The other interference occurred with the planned content of the post and was equally unexpected.
    \nThe jury accepted one of my three paintings and excluded two others.
    \nThis is also an event to be expected and accepted, but it got me thinking about the reasons why these two were excluded.
    \nThese reflections suggested a different theme for the post.<\/li>\n<\/ul>\n

    So, I would like to share my reflections on the jury\u2019s decision, because the issue is directly related to MyManet<\/em> \u2013 both paintings present themes on Manet!<\/p>\n

    The problem may be put in the following way:
    \nDid the jury select a painting and reject two diagrams?<\/p>\n

    Let me state at the outset that I am not questioning the decision of the jury.
    \nI would like to be \u2013 however modestly \u2013 proud of having a painting accepted for the Annual Exhibition.
    \nSo, to be proud I must assume that the jury was competent making that positive decision!
    \nBut then, it makes no sense to question their competence in the other two cases\u2026
    \nBesides and obviously, I have a lot to learn and to experiment on my way to expressing myself in artwork. The experience of preparing my submissions to the event demonstrated that again.
    \nThe task of the jury was to evaluate the quality of the paintings and I accept their verdict.
    \nThus, the quality of the three paintings is not my concern here (but in front of the easel).<\/p>\n

    My question is more self-critical and, in part, conceptual, and related to MyManet<\/em>:<\/p>\n

    Looking at the three paintings, one difference between the selected \u201cAfter Matisse\u201d and the two \u201cManets\u201d stands out:<\/p>\n

      \n
    • \u201cAfter Matisse\u201d (original: Still Life with Oranges<\/em> 1913) is a still life which does not try \u201cto make a statement\u201d beyond \u201cpure painting\u201d. It just offers an art experience \u2013 \u201cart for art\u2019s sake\u201d \u2013 as is typical for Henri Matisse. This was also my goal for the free copy. \u201cAfter Matisse\u201d is not a strict copy, the dimensions are already different – the copy (40×40), the original (94×83). My version tried to catch my impression of the original (as if it would be a still life itself) \u2013 and learn something about painting in the process.<\/li>\n
    • The two \u201cManets\u201d are not copies, they are \u201cabout\u201d Manet and cite elements of his paintings. \u201cA Bar near Folies-Berg\u00e8re\u201d (acryl, 80×100), obviously, cites Manet\u2019s famous \u201cA Bar at the Folies-Berg\u00e8re\u201d (1882), but it includes also references to four other bar paintings of Manet (besides a citation of Velazquez).
      \nI will return to my painterly interpretation of Manet in a later post when looking at the original Bar<\/em> as his last application of \u2013 what I call – Manet\u2019s scheme.\u201cSeeing Being Seen. Manet\u2019s Luncheon on the Grass<\/em>\u201d (digital drawing) presents a sketch inspired by the gazes of the four figures of Manet\u2019s scheme in Luncheon<\/em> (lower left)
      \n– with the gaze of the First<\/em> (the nude) looking back at the viewer,
      \n– the gaze of the Second<\/em> looking towards the other two persons,
      \n– the gaze of the Third<\/em> to the more distant \u201cauthority\u201d beyond the picture space, and
      \n– the view looking \u201cover the shoulder\u201d of the \u201cOther<\/em>\u201d, the bather in the background.
      \nThus, the sketch combines the different views which the viewer would have walking around the group and meeting their eyes (or looking over the shoulder).
      \nThe participant viewer would experience \u201cseeing being seen\u201d.<\/li>\n<\/ul>\n

      Both \u201cManets\u201d are \u201cabout Manet\u201d in the sense that they are conceptually inspired by MyManet<\/em>. They are not only paintings but illustrating arguments: They support the general thesis that Manet is applying \u2013 consciously, or not \u2013 a certain scheme.
      \nIn case of \u201cSeeing Being Seen\u201d, this is quite obvious; in case of \u201cA Bar near Folies-Berg\u00e8re\u201d, it is more subtle, since the painting presents an own application of the scheme. However, the accentuation of the perspectives of the main actors by straight lines crossing the painting suggests quite strongly that there is some kind of model or scheme at work.<\/p>\n

      While the \u201cMatisse\u201d is straight forward a painting, the \u201cManets\u201d can be seen (also) as diagrams.<\/p>\n

      The question arises whether or to what extent the jury preferred paintings over diagrams.<\/p>\n

      Or, since I do not want to discuss the criteria of the jury:
      \nDid I make the mistake that I painted (too much) diagrams rather than paintings?<\/p>\n

      Clearly, in MyManet<\/em> the aim is to interpret Manet\u2019s paintings with the support of diagrams.
      \nDid this aim influence my painting of the \u201cManets\u201d too much?<\/p>\n

      Another question may be what I learned about MyManet<\/em> when trying to paint with his scheme or diagram in mind.<\/p>\n

      This question, I will take up in the following post.<\/p>\n

      First, let us look at the differences between paintings and diagrams.<\/p>\n

      The question assumes that there is a substantial difference between paintings and diagrams and that their principles are, to some extent, in conflict with each other.<\/p>\n

      So, what is the difference between a painting and a diagram?
      \nThere is, of course, a wealth of literature on this issue.
      \nAnd the question very quickly leads into a deep discussion about \u201cwhat is art \u2013 and what not?\u201d.<\/p>\n

      So, here I like to share only some personal reflections motivated by the three paintings.<\/p>\n

      We might expect a categorical difference between the two concepts based on semiotics.
      \nTake, for example, the well-known distinction between icon, index, and symbol in the semiotics of Charles S. Peirce. This distinction is derived from his fundamental triadic system, here applied to the level of signs:
      \n– an Icon presents certain qualities which it shares with the objects it presents;
      \n– an index represents a certain relation between<\/em> qualities or aspects,
      \noften a causal law is depicted;
      \n– a symbol is interpreting qualities and relations in some meaningful context.<\/p>\n

      Following a triadic scheme, we might distinguish between pictures, diagrams, and text. Then, diagrams and paintings appear, at first sight, as categorially different. However, Peirce saw diagrams foremost as visual schemes<\/em> distinct from logical relations and symbolic language (another triad in Peirce’s system). Therefore, pictures and diagrams both belong to our visual ways of \u201cworld making\u201d
      \nwhich Peirce, by the way, believed to be quite fundamental to our understanding of the world.<\/p>\n

      On the level of painting, we would distinguish \u2013 following the triadic scheme \u2013 between the painterly means (like colour, line, shape, brushwork, etc.), the formal composition or design relating elements, and the narrative (\u201cstory\u201d) contextualizing the elements. We would point out that Manet is clearly focusing on painterly means, that he follows in his multi-figure paintings a certain scheme, and that he is decidedly avoiding \u201ctelling stories\u201d.<\/p>\n

      In this view, \u201cAfter Matisse\u201d is clearly focusing on painterly means, \u201cSeeing Being Seen\u201d is the most diagrammatic work, and \u201cA Bar near the Folies-Berg\u00e9re\u201d attempts a more interpretative application of the scheme.<\/p>\n

      However, we would not expect that there is a categorial problem in combining painterly and compositional or formal aspects in a painting.<\/p>\n

      Let us agree that diagrams and paintings are both visual ways of \u201cworld making\u201d, but have different aims:<\/p>\n

        \n
      • Diagrams cast information and relations or patterns into a visual form.
        \nThe content of a diagram is usually described in a text, but typically the content displayed in the diagram cannot be adequately and practically formulated in a text. Some information and insights depend on the visual medium. \u201cThe Art of the Diagram\u201d (Schmidt-Burkhardt 2019) consists in creating a representation which allows us to grasp essential insights visually, literally seeing<\/em> the pattern in<\/em> a flood of data. Modelling and experimenting on the computer has enhanced diagrammatic methods dramatically. We are understanding and \u201cmaking worlds\u201d with the aid of \u201cbeautiful evidence\u201d (Tufte 2006) represented in diagrams.
        \nThe \u201ctruth\u201d of the diagram resides in the adequate representation of the world including possible, past, or future worlds; it depends on knowledge<\/em> about the world and adds to it.<\/li>\n
      • Paintings do not necessarily represent anything in the world, although they often do or are perceived as representing something. \u201cSeeing-in\u201d a painting something represented or \u201cseeing-something-as\u201d a work of art is not an act of simply recognizing<\/em> an object in the painting or a painting as art.
        \nOn the one hand, our ways of seeing are culturally developed. When we see faces or horses in the shapes of clouds of a painting (or in nature), this does not mean there are those objects independently of our ways of seeing. Our perception applies culturally learned distinctions and patterns, but we also apply these patterns in an act of creative imagination, it is a way of \u201cworld making\u201d changing in history and with societal circumstances (Davies 2009).
        \nOn the other hand, in the creation of each painting the artist is not simply applying our culturally developed ways of seeing. Painting is also an act of creative imagination and of \u201cworld making\u201d which, in turn, may suggest new ways of seeing. This creativity is limited only by the material restrictions of the production. In the virtual worlds of computers, these limits can be stretched to the limits of our innate visual capacities.
        \nBoundaries for this creativity are not so much in the process of production expanded by ever new technologies and media, but in our culturally mediated ways of perception<\/em>, our understanding of what is art,<\/em> and to what extent we want to restrict our concept of painting<\/em> (e.g. to the application of lines, shapes and colours to a 2-dimensional flat surface rather than including sculptures, installations, performances, holograms, film, photography, etc.).
        \nThe \u201ctruth\u201d of painting resides in the way it enriches our aesthetic experience of the world and by (eventually) being perceived as belonging to the \u201cworld of art\u201d. The cycle of production and reception of ways of seeing involves learning processes and takes time. In the case of Manet, his contemporary audience did not (yet) understand how to align his painterly innovations with established ways of seeing.<\/li>\n<\/ul>\n

        The aims of adding to our knowledge and the aim of enriching our aesthetic experience do not necessarily harmonize. Often, we find one aim pursued on the costs of the other. However, as the history of diagrams and paintings demonstrates, diagrams can be very artful without violating the requirements of knowledge, and paintings can incorporate new knowledge about the world without losing their aesthetic quality.<\/p>\n

        A good example working both ways is the well-known drawing of the proportions of the human body by Leonardo da Vinci (Figure 2) who was an artist and a scientist as well as an engineer.<\/p>\n

        Figure 2:  Leonardo da Vinci (1490)  The Vitruvian Man.
        \nThe proportions of the human body according to Vitruvius
        \n<\/em> <\/em>\"\"<\/p>\n

         <\/em>and four versions generated by the diagram
        \n\"\"<\/p>\n

        This diagram is over 500 years old, and it still inspires generating new ideas.<\/p>\n

        As shown in Figure 3, I have extracted four versions from the original scheme. We can easily imagine that these figures will motivate rather different paintings.
        \nMoreover, the figures suggest quite different socio-psychological states of the person depicted.
        \nWe might even associate the four basic emotional and interactional states described in Post 16 with the figures:<\/p>\n

          \n
        • Figure 1 conveys a rather elated and expansive mood reaching beyond the confines of the drawing<\/li>\n
        • Figure 2 seems rather down to earth established in his own world<\/li>\n
        • Figure 3 is reminding of the proud and victorious sportsman or warrior<\/li>\n
        • Figure 4 appears to be rather insecure and vulnerable, perhaps even lying on the ground.<\/li>\n<\/ul>\n

          Certainly, these interpretations are not the only ones suggested by the figures, but they demonstrate that diagrams can give rise to a variation of forms and even content (not only) in painting \u2013 just like Manet\u2019s scheme, where moving the basic roles of the scheme into different positions of the composition generates different challenges.<\/p>\n

          Thus, diagrams can be integral and productive structures of paintings, not only on the level of formal composition but also on the level of content.<\/p>\n

          I have to conclude that the question about the exclusion of my \u201cManets\u201d has less to do with their diagrammatic content than with the quality of my painterly means. Actually, the decision to submit the \u201cMatisse\u201d was motivated by my anticipation that the focus on painting rather than supporting MyManet<\/em> with paintings may prove to be the more successful strategy.<\/p>\n

          Which leaves us with the question, what I learned about Manet\u2019s scheme trying to apply it in my own paintings.
          \nThis will be the topic of the following post.<\/p>\n

          See you in two weeks!<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

          On the difference between diagram and painting in exhibitions<\/p>\n","protected":false},"author":199326225,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_crdt_document":"","footnotes":""},"categories":[156853,225364],"tags":[156853,748385198],"class_list":["post-1917","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-diagram","tag-painting"],"yoast_head":"\nOn Paintings, Diagrams and Exhibitions (P22) - My Manet \u2013 Your Manet<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mymanet.net\/home\/2021\/12\/06\/on-paintings-diagrams-and-exhibitions-p22\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Paintings, Diagrams and Exhibitions (P22) - 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