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Category Archives: Art Commentary
Oregon Originals
Oregon realist and impressionist paintings. Where are they now? In the past, I’ve been pretty well known for these types of works even though my later stuff has been in the abstract and abstract expressionist genres.
Although you will find several Oregon paintings here, most of this work can be found at Oregon Impressionist, The Roadside Artist and in the Painter of Oregon studio. By no means are these complete lists or displays of this vast collection, but they will give you a reasonable sample.
There are some additional works (or supplemental works of art) to be found at Blogger’s The Painter Of Oregon collection.
I recommend visiting and bookmarking each location listed above as you never know when this one will disappear. I’m liable to drop dead at any moment, for one thing, so don’t count on this collection being available forever.
And for those who are looking in the decorative vein, there are a variety of prints and posters from original art – available CHEAP – at the Roadside Artist CafePress Store. Some good stuff there…don’t miss it. And I may post some Oregon realism here once again – if you want me to.
Artists See Things Differently, Study Shows
Eye scans show that artists tend to look at broader elements of a scene, with less concentration on the center items than ‘regular’ people. I’ve had this argument about how and what artists see as opposed to non-artists. It doesn’t meant that artists are better, just different.
Cognitive Daily: Artists look different
The fact is, I know I don’t see the world the way most people see it. Often, that is a disadvantage. You could even say that an artist is handicapped… sort of.
Like some artists, I don’t necessarily recognize faces all that well. If you didn’t study this, you might think that it would be the opposite, but artists look at a bigger picture, as the article explains
Art Sucks, It Really Does
It may seem strange to read that an artist thinks art sucks, but there you are. It isn’t because there isn’t anything interesting to be done in art, it’s just that nobody cares if it is interesting.
Instead of interesting, it seems that people want something a bit more pedestrian, and that will be declared by the art gods to be genius-level work.
I finally settled on this point by looking at a big shot art site, seeing who is being proclaimed the latest genius of art. The work I saw there was jarring to me. It was plain, flat and cartoon-like. It was very much like the stuff I was doing when I was ten years old. Close enough that if I sent one of those paintings to the hot professional art web site and said it was done by this guy, I’m quite sure they’d put it on their site as another example of the great man’s genius.
But I’m decades beyond that now, and here this guy is the new genius of art?!? Maybe I was just in the wrong place at the wrong time. When I was ten it was “not bad for a kid” and probably if I still painted like when I was ten nobody would care.
So I realized that people are just randomly declared to be some sort of genius. Like another artist who paints red squares. That’s it – that’s the big work of genius. Oh yeah, she calls them things like A Dozen Roses – never mind that they look like the same red squares she called Carnations, it’s GENIUS! I should be grateful for even getting to see her work.
Yeah. Now do you see why I have said that art sucks? That and the fact that art is mostly useless. 99% of art is either bullshit like this or mindless wall candy: Pretty waterfalls and barns with lots of yellow light – bright and shiny and signifying nothing.
That said, I have finally distilled the essence of success in art: Being good or doing something nobody has ever done before will get you exactly nowhere. To be a genius in the art world, you just need to have the brass balls to put a dot on a canvas and call it God Speaks To Abraham or whatever. So now we know the whole secret of modern art is to be an artist with unmitigated gall and completely full of shit. Nothing else. Although a complete lack of ability to produce anything recognizable also helps.. as long as you make sure to give your work some pompous name, that is.
I’ve done the cartoony work of the great genius trumpeted by the art mags, and left it behind long ago. I’ve done impressionism, abstractism and photorealism. I’ve semi-settled on abstract impressionism because it represents the greatest challenge next to doing something original in abstract expressionism and it takes a lot of skill and talent.
If you missed my many discussions on this point, abstract impressionism uses abstract shapes, simplified shapes and color fields, to create images that rather clearly are representational. It is unreal realism, and that is what I love about it.
I use abstract impressionism to play with the minds of viewers at the neural level, and to present my personal agenda to reform the direction of civilization. I trust that is not too much to ask. And I still love abstract expressionism for its free flow from the animal, subconscious mind to the canvas. Canvas is canvas, paint is paint, the don’t need to pretend to be otherwise, except perhaps to impress the dull witted.
Either way, the art world isn’t going to care.
Art Definitions
Some Movements & Styles in Plain English by C. Pagani
Impressionism & Abstract Impressionism
A movement which began in the 1940s, Abstract Expressionism is a style of painting in which the emotional, non-objective qualities of an object are given preeminence, taking all of the brakes off of the flow of human consciousness and creativity. In abstract expressionism the painter shows his personality through spontaneity. This being the case, most abstract expressionist art does not consist of painting an object or image, but is instead a study in color and interplay of paint and canvas. Nonrepresentational art, also called New York School. For further reading, see Abstract Expressionism Examples and Varieties.
Non-representational or non-objective art – that is, the artist does not attempt to capture an exact likeness from nature. Instead, the subject of abstract painting is the painting itself. "Paint is paint and canvas is canvas – they should not pretend to be otherwise." For further reading, see Abstract Expressionism Examples and Varieties, C. Pagani abstract expressionist paintings. (click on post titles to see paintings).
Abstract Impressionism
A term coined by Elaine de Kooning: Today we generally mean the creation of impactful impressionist paintings utilizing simplified abstract shapes and colors. This movement should not be confused with abstract expressionism, which does not possess any representational characteristics. Philip Guston, Canadian/American Abstract Expressionist Painter, 1913-1980, is considered by some to be the progenitor of this movement when he began adding recognizable objects to his abstract paintings. His works were far more abstract, however, than later proponents such as Domenic DiStefano and Chriss Pagani. Others name Jean-Paul Riopelle (1923-2002) as the father of the movement. In any case, this has created a dichotomy in the movement as readily recognizable figures and objects, even highly abstracted Cubist ones, may be considered quot;abstract impressionism" by some, while others insist that the overall feel of a work must be that of an impressionist painting and that the abstract characteristics must be noticeable only upon closer examination. From either side of this debate, however, abstract impressionists believe that a painting should always look like a painting, not a photograph. This distinguishes them from other contemporary realists. This movement does not have the same broad recognition as some other movements. See also Abstract Impressionism, examples.
Abstract Impressionists
A practitioner of abstract impressionism (Defined: Abstract Impressionism), a style of painting in which real life objects are represented through simplified, abstract shapes. The degree of abstraction varies with the practitioner. Abstract impressionists tend to believe strongly in freedom of expression and individuality, preferring to emphasize the artist’s own style over pure representation. The movement has been divided into those who insist on tangible representation and those who do not. Practitioners the more abstract school include Mark Rothko, while those who lean toward the representational side include Dominic DeStefano and Chriss Pagani.
Expressionism
Sometimes using unusual colors or exaggerated shapes and images, this 20th-century European art movement stresses the expression of emotion and the inner vision of the artist rather than the exact representation of nature. The artist uses distorted lines and colors for emotional impact in an attempt to convey some of the non-material aspects of the subject at hand, in affect turning the represented object "inside out." Vincent Van Gogh is regarded as the precursor of this movement, along with Gauguin and Edvard Munch.
Impressionism is an art and music movement that developed in 19th-century France in reaction to the formalism and sentimentality that characterized academic art of the time. The impressionist movement is considered the beginning of the modern art period. Impressionists are more concerned with conveying the emotional impression or experience of the subject of a painting than exact depiction of form. Foremost impressionists include Claude Monet & Camille Pissarro (the earliest leaders in this movement), Edgar Degas, and Pierre Auguste Renoir.
Contemporary impressionists continue the tradition started by these masters, as well as adding elements of their own as a kind of modern renaissance, and the movement has branched out to fill the gaps between representational and non-representational art through abstract impressionism.
