Marcel Duchamp, Andy Wharol, Joan Miro, Marc Chagall , Pablo Picasso, Jean-Michel Basquiat, Peter Doig or even Niki de Saint Phalle: many painters continue to mark minds with their works and their lives. But in substance, and in form, what defines the painter artist? What distinguishes their works? How can we recognize them today?(...)
From life to life the work
Becoming a painter is, before accessing posterity, making one's life a work of art (to use the words of Michel Foucault). In short, grasping what in one's own life and in what surrounds us deserves to be experienced and transmitted, literally making them pass from life to life. the work. Amateur or professional, beyond techniques which separate him from building painters and decorators, the painter is distinguished from the craftsman by this attachment to expression and specific use of dedicated materials and techniques: through art and manner.
Unlike; what the general public sometimes thinks, although it is part of the myth, we are not born artists, we become one! Of course, you need predispositions and a taste for art, but developing them is essential. It is by learning more or less advanced basics that the painter will acquire and then refine his technique. Attending a School of Fine Arts, plastic or applied arts is a plus which allows you to get to grips with the rudiments and pigments in a concrete way as well as the different ;rent movements and artists who have enameled the history of art.
Over the ages, very numerous works have reached us and continue to reach us with the common point of this pigmented substance which gives its name to the art that she contributes to constitute:the painting! oil or water, from watercolor to; from acrylic to gouache, paint can adopt a thousand and one compositions and textures and be applied with a knife, brush, or even the bomb. Weapons of mass creation that attack canvas or walls. Its subjects, the techniques and practices, mixed and plural which are linked to them, constituted a very particular shared history.
Of course, there is no single or complete training, and there are many contemporary artists who, even today, have become self-taught or self-taught painters. alongside masters. Meetings with artistic circles, worldly or not, attending exhibitions and high places of art, even participation in events. movements are always part of this training. In substance, as much as in form, before meeting fame, becoming a contemporary artist is more than ever the work of a lifetime!
Active and exciting art
It’s their paw, in other words at their feet; their style or trait, which distinguishes the great artists. In their way of conveying their sensations, their emotions, their thoughts, through their work. Whatever their favorite subjects, from portrait to the still life, from the landscape to; the genre scene, they recognize themselves by the particular way they treat them. A style that is often found from one painting to another. the other for example, despite the years, techniques acquired or abandoned, experiences or even centers of interest.
The distinction of genres that we find in criticism and academic painting fades in the face of this greater distinction that constitutes style. The work of Picasso, marked by very differentiated periods (blue, pink, cubist, etc.) thus remains very recognizable, for example from the Demoiselles d’Avignon (1907) to the Women of Algiers (1955) via Guernica ( 1937). A style which can sometimes, unfortunately, come across as strange, unnoticed or secondary, in the eyes of the general public or the establishment until it becomes known. the death of the artist and his posterity.
Not to mention cave art, far from baroque and rococo, from ’Renaissance art and even more. the soul of Art Nouveau, the contemporary artist is at the forefront of his work. at the same time the depositary, the heir and the gravedigger of past practices and works. This approach, debated within criticism at the The manner of the quarrel between the Ancients and the Moderns in literature, continues to oppose specialists and contemporary artists. Each generation, the proponents of the backward and the avant-garde confront each other in an always invigorating dialectic that advances art for our greatest pleasure.
The contemporary artist, whether he describes himself as postmodern or not, most often plays on a multitude of references and is at reading level for better playing with the codes that designed them. All practices are good; take and agrave; extend, to divert and divert deviate. The Fluxus and In Situ movements, which have worked a lot on on these notions, would probably not stop praising the possibilities offered and seized by contemporary art. From pop art to slow art via hyperrealism and graffiti, current movements and techniques are infinitely rich!
From knowledge to recognition
The field of painting is broad and probably the most visible in the history of art, at least until the 20th century ;key. It’s At this time, Etienne Souriau's classification of the arts appeared, which relegated painting to the rank of third art alongside the visual arts. A category designed to better integrate broader forms of expression and which highlights the porosity of the subject. different areas of artistic expression. Rather than occupying first place within the plastic arts that it formed with architecture and sculpture, painting has exploded and democratized to touch all forms of art and all strata of society.
If the studio is the place of creation par excellence, few painters remain isolated. Another classification, that of Alain, distinguishes the social arts from and the solitary arts, to better remind us that the latter did not absolutely exist. The artist is always influenced by by its time, its environment, its own history and that of the works which preceded it. Come to think of it, the image of the solitary is less linked to the practice of art that’the recognition that the artist can derive from it. Indeed, even rarer are those who end up achieving the fame they deserve.
Contemporary painters benefit from the inspiration and visibility of artists. that new technologies provide them. From television to social networks via sites, platforms and blogs, painters have evolved their means of expression in terms of art and communication. By identifying and mixing all these aspects, as the techniques are distinguished and mixed, it is today possible to discover artists, to understand and situate their practice and filiation, and even to acquire ;laugh at their works.