Our Journey Of Art Curiosity

Forms, the sphinxes that seem to be obvious but misunderstood by the onlookers
In prehistory, they weren’t and surely not today. Elements compositioned.
Principles observed. Art we admired. In chronology, the pigments receded, attracted, united, fought, persuaded and even symbolized. Before realised, hue had taken the dynamism and significance of colour and the trajectory between the wet and dry media had become the techniques well-practised & mastered by phenomenal artists of the days of old and now. It was then that it became bare that tempera & gouache assumed subordinate binders. Dots turned to be the only pointillistic vehicle that could draw from distant gaps the trades and rage of the markets scenes depicted by great-inventory artists whose preliminary findings never differed with the actual works. The byzantine, the grotto’s, the classical re-awakening, the fore-runners; Cimabue and Giotto. Men whose signatures stood distinctive but were first among equals. The Archaic, Classical and Hellenistic eras; Paleolithic, Mesolithic and Neolithic; Then, the PMN acronym stood astute. The cave paintings, the hieroglyphics and the modern-day alphabets.
The Kuoras and the naked discus thrower, just under the tutelage of Alexander the Great. Bays and straits of Thessalonikka, Corinth, Mycene. The almost faultless works of Michelangelo, Da Vinci, Mattise, Braques and the many unsang heroes whose idealogies we’ve kept till now. The curiosity separates forth the symmetric and assymmetric balances. The colour theory that almost always proofed that red is adjacent to green on the wheel and the final result of almost all or all the colours is black. The analogous and the triad harmonies that lie equidistant to each other. This art that proclaimed to us inimically the voluminous twists of life, louder than the farthest decibel of sound. The Polynesia, Melanesia and the African conformities and diversities steered by the influx of westernization. The secret societies that rendered indelible to bridging the gap between Komo and the Chiwara traditions amid norms. Just when we practically understood why the two-point perspective really had a vanishing point. Then came the tonal gradation of the hue in the atmosphere which was a direct sarcasm to silhouette, impasto but planography. This journey of art; we breathe, live and witness now in every phase of humanity Art lives on!

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