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Connecting Your Philosophy
to Your Art: Imagination

Imagination is one of the cornerstones of art. Its use can be quietly subtle, flagrantly  bizarre, or inspire generations of people to dream beyond their immediate circumstances and envision a world of possibilities.

One of the more quiet ways to use imagination is to recreate a real scene from life, yet include additional real objects to complete the idea of the work. Here, David Gallup, created an idyllic setting of the Pacific Ocean replete with dolphins, birds, and surfers.

 

 

 

 



Gallup, The Glistening Playground, 2009, 30 x 40 inches

 

Here Dali uses some realistic elements and then distorts aspects of them to create an imagined world in which the unbelievable interacts with the real.

 

 



Dali
, The Temptation of St. Anthony, 1946

 

A variation on the unbelievable subject with the real comes from Gerome's  Pygmalion and Galatea. He conveys the legend of the sculpture of Galatea being so perfect that the stone turned into living flesh. Gerome does make the farfetched scene look as if this is really happening.

 

 

 

 

Gerome, Pygmalion and Galatea, 1881

 

 

Kandinsky's Sea Battle conveys a rather freewheeling imagination - an ambiguous collection of forms and colors. Is that a strawberry or blood? A wing of a bird or a splash of water? A sail? A rock? It's rather like looking for animals, and things in the shapes of clouds.

Kandinsky, Improvisation 31 (Sea Battle), 1913

 

Delacroix in Liberty Leading the People uses a great deal of imagination in the subject, a half naked woman leading the masses in a revolt against a regime. Yet, the scene is meant to feel genuinely real - not like a surreal dream or like an impossible physical  transformation.

Whether it is an escape, entertainment, or a beacon to guide your life's path, an artist's imagination projects some insight into his philosophy of life.

 

 

 

 

I hope you enjoyed imagining art in a fresh way.

Michael Newberry
Santa Monica, March 2009



Delacroix,
Liberty Leading the People, 1830

 

 
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