Analysis 2: Silhouettes of Formalism
The moon has now closed in on us and it begins to drizzle—then rain, then pour. This is the perfect opportunity to end the silence that stands between us. It has been minutes or maybe even hours since she has even turned in my direction. I pull her close so that I may shield, warm and protect her from the crashing down of raindrop; drops that could weigh her down and slow us up. I’ve been here before in this place so reminiscent of itself. But has she? It feels the same, but it certainly isn’t how I remembered. Does she feel the same? We are both here and it seems brighter. Strokes of light in the darkness now feel loud, vibrant and rich. The light from streetlamps illuminates particular crevices of us; it reflects off the glistening pavement. She does not reject me. Together we gaze deeply at the ground at our refracted images. We notice the meeting of our feet with the ground. We watch as our silhouettes become one connecting image while our hands rest around one another—navigating off into the distance.
To Russian formalist, Viktor Shklovsky, the untitled oil painting by Leonid Afremov is an example of art utilized “as a technique”(Shklovsky;1). As a viewer we can recognize the denotative characteristics of the painting. We see the image of a man and woman walking under an umbrella through a park, there are street lamps, it is raining and there are trees visible. Although it seems like a fairly simple message, their may be connotative representations in the painting. Shklovsky argues that perception is a “habitual” exercise and ultimately leads to “automaticism.” As we go through life being exposed to the same ideas or images, they begin to become embed into our minds to the extent that we almost become somewhat immune or desensitized to them (or the presence of them). It is through the repetition of things that they become “unconsciously automatic” (Shklovsky; 1). But as Shklovsky expresses further in his argument, he points out that art is employed so as to eliminate automaticism. It is used strategically from its normal form. “The technique of art is to make objects unfamiliar…” (Shklovsky; 1). He goes on further to say, “ Art removes objects from the automaticism of perception…” (Shklovsky;1).
Afremov could have strictly painted the man and woman with no depth; without colors or as a sketch as we would expect to see universally to represent this idea/act/image in our daily lives. But instead he chose specific radiant colors, he chose a method of strokes to create a feel of objects we are familiar with, but did not leave them or paint them as we would ordinarily recognize them. “[…] its purpose is not to make us perceive meaning, but to create a special perception of the object—it creates a vision of the object instead of serving as a means for knowing it” (Shklovsky;3).
This idea demonstrates how art is used to create a subconscious pause. An interference in which the viewer is “defamiliarized” by the painting and is then forced to delve deeper and analyze their sensations and perception of the work. “The purpose of art is to impart the sensation of things as they are perceived and not as they are known” (Shklovsky;1).
One other argument that Shklovsky makes about art is its “algebraic” characteristic. Just like in Afremov’s painting, we do not perceive or view images in their entirety, but rather through its fundamental or “main” identifying characteristics. Shklovsky says we only see objects as “shapes with imprecise extensions” (Shklovsky; 1). He argues further, “We know what it is by its configuration, but we see only its silhouette” (Shklovsky;1). This reinforces the idea in the painting. We know that it is a man and woman and what setting they have been placed in based on their form. But we are not given precise facial features or detailed linear strokes to show us a specific face or setting. We are able to gather from their “silhouette” or their forms what they are.
Work Cited
http://artsytime.com/oil-paintings-of-leonid-afremov/
Shklovsky, Victor. “Art as Technique.” 21 July 2010
The moon has now closed in on us and it begins to drizzle—then rain, then pour. This is the perfect opportunity to end the silence that stands between us. It has been minutes or maybe even hours since she has even turned in my direction. I pull her close so that I may shield, warm and protect her from the crashing down of raindrop; drops that could weigh her down and slow us up. I’ve been here before in this place so reminiscent of itself. But has she? It feels the same, but it certainly isn’t how I remembered. Does she feel the same? We are both here and it seems brighter. Strokes of light in the darkness now feel loud, vibrant and rich. The light from streetlamps illuminates particular crevices of us; it reflects off the glistening pavement. She does not reject me. Together we gaze deeply at the ground at our refracted images. We notice the meeting of our feet with the ground. We watch as our silhouettes become one connecting image while our hands rest around one another—navigating off into the distance.
To Russian formalist, Viktor Shklovsky, the untitled oil painting by Leonid Afremov is an example of art utilized “as a technique”(Shklovsky;1). As a viewer we can recognize the denotative characteristics of the painting. We see the image of a man and woman walking under an umbrella through a park, there are street lamps, it is raining and there are trees visible. Although it seems like a fairly simple message, their may be connotative representations in the painting. Shklovsky argues that perception is a “habitual” exercise and ultimately leads to “automaticism.” As we go through life being exposed to the same ideas or images, they begin to become embed into our minds to the extent that we almost become somewhat immune or desensitized to them (or the presence of them). It is through the repetition of things that they become “unconsciously automatic” (Shklovsky; 1). But as Shklovsky expresses further in his argument, he points out that art is employed so as to eliminate automaticism. It is used strategically from its normal form. “The technique of art is to make objects unfamiliar…” (Shklovsky; 1). He goes on further to say, “ Art removes objects from the automaticism of perception…” (Shklovsky;1).
Afremov could have strictly painted the man and woman with no depth; without colors or as a sketch as we would expect to see universally to represent this idea/act/image in our daily lives. But instead he chose specific radiant colors, he chose a method of strokes to create a feel of objects we are familiar with, but did not leave them or paint them as we would ordinarily recognize them. “[…] its purpose is not to make us perceive meaning, but to create a special perception of the object—it creates a vision of the object instead of serving as a means for knowing it” (Shklovsky;3).
This idea demonstrates how art is used to create a subconscious pause. An interference in which the viewer is “defamiliarized” by the painting and is then forced to delve deeper and analyze their sensations and perception of the work. “The purpose of art is to impart the sensation of things as they are perceived and not as they are known” (Shklovsky;1).
One other argument that Shklovsky makes about art is its “algebraic” characteristic. Just like in Afremov’s painting, we do not perceive or view images in their entirety, but rather through its fundamental or “main” identifying characteristics. Shklovsky says we only see objects as “shapes with imprecise extensions” (Shklovsky; 1). He argues further, “We know what it is by its configuration, but we see only its silhouette” (Shklovsky;1). This reinforces the idea in the painting. We know that it is a man and woman and what setting they have been placed in based on their form. But we are not given precise facial features or detailed linear strokes to show us a specific face or setting. We are able to gather from their “silhouette” or their forms what they are.
Work Cited
http://artsytime.com/oil-paintings-of-leonid-afremov/
Shklovsky, Victor. “Art as Technique.” 21 July 2010
No comments:
Post a Comment