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 | Classical Painting Atelier, a Contemporary Guide to Traditional Studio Practice, by Juliette Aristides Watson-Guptill Publications, 2008 770 Broadway, NY, NY 10003 ISBN 978-0-8230-0658-8 | Click Here to Buy This Book |
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In conjunction with her first book, Classical Drawing Atelier, Ms. Aristides has created not only a major work of technical knowledge, historical enlightenment and visual beauty, but has also made a definitive case in proving that realism in art, when used to communicate shared human experience and beauty, is the highest form of visual art. Aristides' Introduction to Classical Painting Atelier will make even die-hard modernists and devotees of abstract art stop and think. Her book itself is powerful enough to change minds. The rational art lover, even if he or she remains convinced of the "greatness" of abstract art, will come to see that realism, by its very nature, is rich with meaning and purpose and is completely relevant in today's art world. And if they pride themselves on being free-thinking and democratic, they will see that realism has as much a right to be championed as modernism. Indeed, the realism of today is modern...so let the artist choose his or her tools freely...no limits. Aristides shows us that if abstract art reflects our angst as a culture, than realism offers us hope. Her arguments are solid, based on long studied historical and philosophical materials, which she uses freely and interweaves gracefully, not only in the Introduction, but through out the book. This second book, argues even more impressively, the role of realism as our finest form of visual art, because it is written with a maturity and confidence that comes from a continued willingness to see and hear and read all arguments and to then find over and over again that realism satisfies us humans in way that other forms cannot. |
| Realism is no more out-dated than the five senses themselves. Aristides has determined this after years of studying our present culture and the historical events that have brought culture to where it is today...often a very bleak, dark and impersonal place...stylish as that may be. She synthesizes all data as a philosopher, writer, painter and audience of the arts herself...and most importantly as an intelligent and caring human being. This last skill, probably the most attacked by modernist philosophy, because it seems sentimental, is indeed the most important determiner. Because isn't that why we humans make art...to reach out to other humans? But the best way for me to show you the importance of this book and why it should be read, seen and talked about, is in the book itself. So rather than write on with an admiration that might grow boring and indulgent, I would like to let Juliette Aristides speak for herself. I want to give you the opportunity to read her Introduction, because it expresses so clearly and beautifully why Juliette Aristides took on this major task to begin with. Like a master painting, her Introduction and the way in which the whole book has been conceived, builds, using the concepts of greatness with attention to form, style, color, voice, subject, emotion, mathematical balance, originality, and a return to and reinforcing of major points, so that the book itself is a work of art. I also want you to be able to take a look inside the book and enjoy some of the visual delights and the successful technical descriptions of the actual process of painting, as well as her philosophical points. Ms. Aristides has again taken the bold approach of placing side by side contemporary and living artists of the Realist Tradition with the great masters of the past. These contemporary artists hold up beautifully and reinforce the power and relevancy of realism in today"s culture. The numerous color plates are gorgeous and well chosen. These examples demonstrate that there is a growing return to realism and a large and prospering base of artists who have mastered these skills. This older generation is now mentoring and passing on these skills to a younger generation who want and expect to be able to paint realistically if indeed they want to call themselves artists. So, please, enjoy Aristides Introduction, and then look on and take a glimpse into this fascinating and visually delicious book. | |
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