Feeling and Genius in Modern Art Many artists today are only concerned with creating art based on their "feelings" rather than creating art with skill. For example, how many times have you gone to a modern art gallery, looked at a work of "art" and just didn't get it? Unfortunately, in cases such as this, regardless of what the artist might have felt while creating their art, the impact of their work is greatly diminished because they didn't acquire the necessary skills to communicate those "feelings" effectively to the viewer. In other words, their message or intent gets lost in the translation.
In the book "Nature's Harmonic Unity," Samuel Colman states "Proportion is a principle in Nature which is a purely mathematical one and to be rightly interpreted by man through the means of geometry; therefore geometry is not only the gateway to science, but it is also a noble portal opening wide into the realms of art. Still to a great majority of artists, and to the world at large, the effort to relate science with art is now looked upon with the greatest disfavor and even repugnance, and this accounts in a measure for the overwhelming percentage of immature work which characterizes all branches of art in our times. The architect, the sculptor, the painter, etc., each places too much confidence in what he is pleased to call his "feeling" or "genius" without considering the fact that this feeling or genius would not only become more profound, but capable of a larger expression, were the mind endowed with fuller knowledge of the laws of beauty. Furthermore, the eye becomes better trained under the influences of the exact study of geometry, and thus the student is able more readily to recognize and more justly to appreciate the various charms of Nature."
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