I always appreciate these gentle Paul talks down to series. I’m re-reading your books “ what is art “, and “art in the age of anxiety”. ( long overdue book review hopefully forthcoming soon.) I appreciate that you show examples of the sculptures, particularly the example of the drapery. I don’t have the vocabulary to explain the difference between the two sculpted forms. What is the word I’m looking for? Gesture? The older sculpture, also referencing war, is dynamic and full of pathos. Can you please say more and spell it out a little more precisely regarding the difference between merely reproducing something, and abstracting the essence from some thing and conveying it either through drawing or painting or sculpture? I mean something along the lines of “how to correct this situation”. I myself have benefited when my teachers have taken my drawing and drawn over it or redrew it or corrected this or that, and I’m curious if you think it would be appropriate to demonstrate how to adjust his work so that it is not so stiff and freeze frame. It’s simultaneously dynamic but too staged and posed and, I’m also wondering when it goes too far, like did Bernini go too far? Can you compare and contrast, say, Bernini with Rodin? Is it that Bernini was too precise and Rodin was not precise enough? They both seem to over exaggerate on opposite ends of the spectrum. Say if Howard has a good start, what would you do to mitigate his obsessive compulsive insistence on being a human 3-D printer? Can you walk us through it, like precisely what you would do: nudge this, tweak that. If that seems implausible or un interesting to you, can you please show and tell us a little more about exactly why your figures using your own examples are conveying something that his are not? I just mean for the edification of the people who are potentially tuning in and can kind of eliminate bad habits based on your tutelage.
Can’t just be a simple matter of style and taste. I have a book on Titian, Tintoretto, and Veronese, and it touches upon how they all addressed the same subject matter differently, mostly in terms of composition. I’m also thinking in terms of this Howard guy is to Boris Vallejo, as you are to Frank Frazetta. Stiff and contrived and slavishly copycat reproduction versus re-presentation through a thorough grasp of anatomy and form and gesture and motion.
Nice sculptured pieces from you, really great! What materials did you use? @ 20:06 is this plaster? And outside sculpture made of which stone? Thank you in advance.
@@Paul-talk No, I'm not a sculptur but an art enthusiast. I like your work, both paintings and sculptures. And your philosophy behind it. I enjoy your videos.
I always appreciate these gentle Paul talks down to series. I’m re-reading your books “ what is art “, and “art in the age of anxiety”. ( long overdue book review hopefully forthcoming soon.) I appreciate that you show examples of the sculptures, particularly the example of the drapery. I don’t have the vocabulary to explain the difference between the two sculpted forms. What is the word I’m looking for? Gesture? The older sculpture, also referencing war, is dynamic and full of pathos. Can you please say more and spell it out a little more precisely regarding the difference between merely reproducing something, and abstracting the essence from some thing and conveying it either through drawing or painting or sculpture?
I mean something along the lines of “how to correct this situation”. I myself have benefited when my teachers have taken my drawing and drawn over it or redrew it or corrected this or that, and I’m curious if you think it would be appropriate to demonstrate how to adjust his work so that it is not so stiff and freeze frame. It’s simultaneously dynamic but too staged and posed and, I’m also wondering when it goes too far, like did Bernini go too far? Can you compare and contrast, say, Bernini with Rodin? Is it that Bernini was too precise and Rodin was not precise enough? They both seem to over exaggerate on opposite ends of the spectrum.
Say if Howard has a good start, what would you do to mitigate his obsessive compulsive insistence on being a human 3-D printer? Can you walk us through it, like precisely what you would do: nudge this, tweak that. If that seems implausible or un interesting to you, can you please show and tell us a little more about exactly why your figures using your own examples are conveying something that his are not? I just mean for the edification of the people who are potentially tuning in and can kind of eliminate bad habits based on your tutelage.
Can’t just be a simple matter of style and taste. I have a book on Titian, Tintoretto, and Veronese, and it touches upon how they all addressed the same subject matter differently, mostly in terms of composition.
I’m also thinking in terms of this Howard guy is to Boris Vallejo, as you are to Frank Frazetta. Stiff and contrived and slavishly copycat reproduction versus re-presentation through a thorough grasp of anatomy and form and gesture and motion.
... I'll see about that...
Poet vs Documentary
Nice sculptured pieces from you, really great! What materials did you use? @ 20:06 is this plaster? And outside sculpture made of which stone? Thank you in advance.
outside, various local limestones, inside plaster.
R U a sculptor??
@@Paul-talk No, I'm not a sculptur but an art enthusiast. I like your work, both paintings and sculptures. And your philosophy behind it. I enjoy your videos.
Contemporary subject. Yeah like that chair painting. The chair is a contemporary subject, the chair exists in the now, in the zeitgeist of chairism