The Bare Facts: Nude v. Naked

How One Man’s Broccoli is Another Man's Asparagus in the Southcoast, MA – HERE’S A POST THAT ATTEMPTS TO BLEND WHAT I BELIEVE IS SIMILAR ABOUT MARKETING AND ART –  Why?  It’s partly an exercise and a leap of faith.  Much of drawing is about focused observation.  By that, I mean, really looking at what you’re looking at.  Observation feeds perception and perception frames reality.  In business, you have to be observant.  Vigilant.  Every nuance.  Every inflection.  Everything offers a clue.  But, you have to know what you’re looking at.  You can’t jump to any conclusions.  You have to be aware of patterns and trends.

When you look, regardless of who you are, business (marketer) person or draftsman (artist), what are you looking at?  What do you see?  The old chestnut of one man’s trash being another man’s treasure is the same as one man’s opportunity is another man’s threat comes down to one thing – perception.  My college art instructor Herb Cummings used to have his own  version of that old chestnut: One man’s broccoli is another man’s asparagus. 

What it means is, that there is a danger of allowing our preconceptions to cloud or distort our judgement.  Eye witness reports are unreliable for that very reason.  What you see may not be what you’re actually seeing because you’re not looking at what you’re looking at objectively or, with objectivity.  Much of art (appreciation) is about objectivity.  Case in point: A work of art depicting an unclothed woman.  One observer sees a nude figure.  The other sees a naked woman.  The painting or sculpture hasn’t changed.  Why then, are the observations entirely different?  Does education or experience, or the lack of either define the objectivity of the observation? 

In art school, live drawing classes or, figure drawing classes, utilize the unclothed human figure.  Some of you reading the preceding sentence read it as follows: In art school, live drawing classes, or figure drawing classes, utilize naked models. While, others read it as: In art school, live drawing classes, or figure drawing classes, utilize the nude figure.  Why?  Maybe, it’s a reflection of either your present state of mind, or your lack of perspective on the subject.  Maybe it’s straight-out stereotyping and prejudice as a result of your cultural or religious background.  Whether a model is nude or naked to you may be a matter of your sense of morality. Where to an artist, it’s a matter of aesthetics. 

Perhaps this may be helpful: The model is only nude when no sexual thought enters into your perception. Why are nude models used as part of drawing (art) instruction?  Because it is a tradition handed down to us from ancient Greece and Rome.  They believed the human body was to be glorified for what it was objectively.  It was not objectified.  That in a nutshell is the difference between nude and naked.  Learning how to draw the unclothed human figure is difficult for many reasons on many levels.  I plan on doing a post devoted exactly to this. 

Art instruction, (yeah, here comes the pun) strips away the student’s preconceptions of what drawing is, as well as, the subject, motif or model, clothed or otherwise, in front of them.  Looking exercises force them to really see what they’re looking at.  It does this through a series of objective (there’s that word again) exercises.  The students think the exercises are just drawing exercises when in reality, they’re looking exercises.  One of which has the students drawing everything that isn’t the subject, motif or model.  It helps students see the subject, motif or model from a different perspective.  Wasn’t it Christ who said, “…seek and you will find…”?   

Part of the spiritual awakening that comes with learning how to draw is the finding – the finding of yourself. He also said, in reference to his doubting apostle Thomas, "Blessed are they that have not seen, and yet have believed."  If I’m going to tie drawing and spirituality together based on “Religion and art – the hallmarks of civilization...” then, I’m going to present to you that learning to draw (art) is a leap of faith requiring the student to trust the teacher and themselves. Speaking of faith; religion(s) has been entwined with Art through one, many or all of its manifestations of drawing/painting, music, dance and singing.  At several points in history, they were inseparable.  I have a whole theory of the current state of both but, I’ll visit that at another time.

 

This presence and level of trust determines what you see.  With all of this in mind, the difference between the observer (draftsman), or the viewer of the drawing, seeing an unclothed or, a nude figure is based on the same reason one business person sees an opportunity for what it is, or for what it may be – a threat.  What separates the two is perspective, which is an interesting word.  It is defined as one’s view or outlook of the subject, or point of view.  It is about posessing an ability to perceive the actual interrelations or comparative importance of things.  Much of marketing then is no different than art; it is about sustaining an acute level of observation and objectivity as well.

Most interestingly, perspective is also defined as a technique utilized by artists to represent three-dimensional objects and depth relationships on a two-dimensional surface. Linear perspective was both en vogue and the new standard in art during the Renaissance. Perspective changed a lot more than art.  It also changed how Westerners viewed themselves and the World.  It was as if Europeans were seeing space and their surroundings for the first time.  

Jacques Cauvin, the archaeologist who started his career in the Paleolithic era caves in France, spoke of a "revolution of symbols." He viewed this revolution as a shift in the ability of humans to conceptualize.  The revolution gave humans the ability to imagine gods.  Drawing went from an act of observing and duplicating (or, recording) the surrounding natural environment to imagining, through symbols (which developed into writing), the supernatural and a metaphysical universe beyond the perceived physical world to assist in answering who we are, why we’re here and whether or not we’re alone..

IMAGE: Jean Auguste Dominique Ingres - Little Bather or Inside a Harem - 1828

Promises & Pie Crust…

Short Stuff from the Southcoast, MA – After thirty-plus years in advertising and marketing, it’s hard to shut off the part of my brain where those skills and experiences reside. While working on, developing and preparing my anyone can draw concept, I realized that – it’s not about the drawing stupid!

When I surveyed students in my community learning based art classes as to why they were giving up several nights of prime-time television to learn how to draw or paint, their answers were almost universal. They were, attempting to or, determined to, go back to a point in their childhood where art was very important to them. They all felt as though the joy they experienced doing art was, taken away from or denied, them.

Many were also left with the nagging doubt or question(s) as to whether they were actually any good at art (drawing). Most of them described how they were either commanded or instructed to: focus on more important things. They also were told that they couldn’t make a living doing that so they should concentrate on a more serious profession.

These adult students were, in effect, the walking wounded. Yet, despite this yearning to reconnect with the joy they experienced in their childhoods, they still misunderstood, or perhaps more correctly, didn’t quite realize that what they experienced as children was both spiritual and emotional. Drawing, as I’ve submitted previously is spiritual. It is either an individual (private) or community (public) expression of their reality. It is then, very spiritual and, as such, is highly emotional as well.

However, as with most religions, which are organized communal demonstrations of faith; there are precepts and cannons to follow. And, if Saint Augustine was correct, then, the reward of faith is belief. Just to be clear here, religion is communal, organizes the system of belief and offers individuals proof of the value of their faith. Drawing then, in my opinion, is no different.

If I may - if drawing is the religion - then there are rites, rituals and rules which define it. Therefore, there must be levels of participation starting with induction after a specified period of training and indoctrination. After the individual is accepted into the fold, they continue their spiritual education which is marked by specific events or milestones.

To learn how to Draw requires a structured indoctrination. The idea of free-spirited expression may be charming but, as with anything of true and lasting value; it requires patience, discipline and practice. Many first-time students become frustrated because they cannot curb their enthusiasm. And since we also live in a world of instant gratification; it’s harder to be patient. There are no shortcuts. There are no tricks per say.

There are, however, proven methods, manners and practices. For example, how to set up and use an easel. How to properly hold the drawing or mark making tool. How to isolate a scene or motif and so much more. How does this deliver the promise of a spiritual and emotional journey of self-discovery? Well, Mary Poppins said that a, "pie crust promise is easily made and easily broken.” So I want to be perfectly clear here. I can keep my promise to you of this spiritual and emotional journey of self-discovery if you give yourself the chance to allow me to prove it to you.

Once a student allows the teacher to guide them on this journey that is more mysterious and unknown than the student may realize; the self-discovery begins. So, instead of my drawing course being about learning a craft, it’s about learning about yourself and the world around you. You can learn and use drawing as a form of meditation that will offer you not only a spiritual and emotional journey of self-discovery but something concrete that you can share with others – your drawing!

I'm continuing on my journey to define drawing and to improve on its instruction in a manner in which anyone can learn to draw. I continue as well to develop my drawing blog in order to assist me to learn and be a better teacher. In the meantime, please join me.

Sign up for The Joy of Drawing starting on June 7^th (Tues 6:30-8:30 pm) at Artworks in New Bedford. I'll teach you the Seven Ts of learning to draw - Teacher, Trust, Time, Tools, Talent, Technique and Temperament

Look. See. Achieve. It’s a Mind-Body Experience!

Shameless Self-Promotion from the Southcoast, MA – [AUTHOR’S NOTE – Please sign up for my upcoming drawing class at Artworks this June] You say you’ve always wanted to learn to draw. You haven’t tried? Perhaps it’s because you’re afraid to fail. Or, maybe it’s that you truly believe you have no talent for it. Whatever is stopping you can be addressed. I truly believe anyone can draw. As with anything else that is meaningful to you; it requires patience and dedication. It also requires that you trust your instructor. There are several steps to the process of learning to draw.

The first step is looking. You must learn how to see as an artist sees. Then and only then, will you be able to achieve the creative experience you crave. When you really look at objects; the things, places and people around you - is when you begin to really see. Or, as I should more correctly say – see for real. One of the greatest impediments to achieving the creative experience you crave is your subconscious mind. Many people approach art on an emotional level while their brain approaches it from a rational level. Because of this dichotomy of processing there is already conflict. Conflict breeds confusion. Confusion creates frustration. Frustration leads to quitting.

Therefore, if you are not totally conscious of what you are looking at; you will not see it as it really is. Perception is indeed reality. You cannot really see if you really aren’t looking. Most beginning drawing students think this is preposterous because they’re very eager to get going and start creating something on paper. They don’t understand that with this mindset of theirs; they’ll only be acting like artists instead of becoming an artist.

Many drawing students crash and burn right after takeoff because they haven’t allowed themselves the opportunity to learn. Yes, many people consider the ability to be creative, or being an artist, as romantic (as in adventurous) and exciting. And, it is. However, there is a lot of self-disciple involved in order to get the full benefits of the instruction, the training and the total creative experience.

I very much believe that the act of drawing is exceptionally spiritual in nature. One of my college art instructors described the experience, especially when the artist or student is conscious of their mark-making activity, as touching the face of God. There are quite a few misconceptions as to what an artist is or what drawing is all about. The first misconception is what people believe is required.

Talent is not a requirement. Talent is what is developed through instruction, discipline and experience. Yes, there are people who seem to have been born with a talent for drawing. What lends credence to this perception is that they just seem to pick up a pencil and draw. It has nothing more to do, in my opinion, than the fact that these people just have better observational skills. Why? I don’t know! Perhaps they are just more conscious or aware of their surroundings. I have witnessed my own grandchild drawing by observation with a knowledge of observation that stupefied me. She had never been instructed on how to do what she was doing!

Yes, I see many examples of drawings that are quite remarkable. They are very polished. They are excellently executed. They are, as many like to remark – so lifelike. However, these drawings leave me cold. They are more an illustration of a person, or an object or a scene, but they are not drawings in the true sense of the word. What’s the difference you ask? An illustration is complete. It does not allow you inside of itself. It is a tune you cannot whistle or hum or sing along with. It is a solo. It is closed to you beyond your ability to see it. These drawings then, are illustrations. Illustration has a specific purpose but it is not to be confused with drawing. Norman Rockwell was one of the finest illustrators that ever lived and yet, he was preoccupied with not being a fine artist. He knew there was a difference.

A drawing on the other hand is a record of a person, an object or a scene as you observed in its natural state or environment versus it being staged. Unlike an illustration, a drawing is incomplete. It invites you inside of itself to participate in the joy of the journey of the hand that created it. A drawing then, is a tune you can whistle or hum or sing along with. It is opened to you beyond your ability to just look at it or see it. It is a duet. It is goes beyond your ability to see it because you are looking at it as the artist who created it did. Ah, there’s the spirituality of it.

A photograph records reality. A drawing, on the other hand, records consciousness. Drawing is primarily about line. Line is magical. It defines space, shape and mass. Line is sensual. Highly sensual. And it is so because good marks (lines) are alive! Part of the learning-to-draw experience is the simple act of observing the person, object or the scene which is determined by the artist to be the subject of the purpose of their investigation - the drawing. The other part of the learning experience is being consciousness of the marks that are being made.

There are intelligent lines (marks) and otherwise, as well as, lines which exude a life force. Michelangelo’s spark of life - The Creation of Adam - depicts the Almighty giving life to Adam at the beginning of his spiritual narrative of the Old Testament in his famous fresco on the ceiling of the Sistine Chapel in the Vatican. This scene defines exactly what I’m attempting to transmit to you. A well rendered line contains the elusive spark of life and gives the viewer a glimpse of what the artist saw and felt, as well as, how they executed the piece.

Here I’ll stop for now. But before I go, please consider allowing yourself to be taken to a place or level of consciousness in order for you to experience a sensation you may have never felt before. If you’re looking for something to help you feel more or fell better about; learning to draw is what you need to give you that experience you’re craving for, whether you know it or not.