In leadership, it is not enough to pick a "default" theme, first you also need to find those predominant colors of the type "model consequence relations" visible only to connoisseurs.
All themes are similar, notes Eisenstein, because the past impregnated by color is inevitably imagined by others, at the border between the Middle Ages and Renaissance.
And editor of the general direction of cinema makes an unexpected proposal: to produce a film about the fight against the plague. The proposition seems absurd to him. Everyone insists on the use of color. Eisenstein, however, thinks of the project. The feast during the plague becomes the unique episode that interests him. Not a film in color, but a film about the color black: the blackness of the plague that spreads and floods everything, the motley carnival swallowed by the black of funeral convoy rows.
Here is a return of the same theme of blind fatality that invades everything. He also makes sketches in this regard. But shortly thereafter, he abandons the idea. All of these plans are not to his liking, in spite of the picturesque exterior, because he looks for a theme in which color is not a decorative element, but rather becomes a necessary dramaturgical quality, raised within the theme. *
Leadership: Can you find an alternative approach of creation in which color is not a decorative element, but rather becomes a necessary quality, raised within the theme?
The duties of an artist, who knows how to turn his very vision into a true masterpiece, can be supported with the help of unitary concepts regarding the relationships between the title of the chosen theme, its content, its requirements and its versions of interpretation as a symbol of knowledge, created through the consequences of the various sources of reference addressed.
The theme is the result of receiving and processing information, images, ideas, derived largely from reality, placed amid a guessed décor, suggested or revealed following a discovery. It represents the main idea developed in a work. The reception of an image whose theme brings out the color, must be the result of a reality processed artistically and placed against the background of a new discovery about life (for example). While an idea revealed through a theme of death, on the decor of a gray or black hint suggesting the lifetime of a mortuary event, lacks that sparkle to make the difference between an authentic value and a failure.
Yet we must not omit, given that technique and execution constantly require it for the conception of the presented work, that always in the dizzying whirl of expression through artistic means, a unifying thread is preserved: the desire for revenge of fantasy over the restrictive reality.
Leadership: Can the thematic basis of the main theme you deal with be applied to the connections between a main painting and a secondary painting, so that creation can have multiple meanings?
Here is where color comes into play. If I could live a thousand lives, whose meanings overlapped, absolutely only an artist could capture in his works, I think I would manage to share only 1% of the knowledge I had the opportunity to acquire up until this moment. And this percentage decreases with the exponential increasing of experience and information. The infinite is mind’s way of continuously reorganizing matter.
The great task of colors, especially in the eruption of artistic fantasy, is to dominate and harmonize this vast subject matter, in constant movement, capturing the alternation between nature, science and aesthetic, between emotions (love and hate), between the predominant traits of character (vice or virtue), etc. Colors, attributed to primordial elements, often opposed, marks through a more sustained or subtle touch everything that can appear disparate or diverse in the rational serenity of constructive harmony.
Leadership, like art, is a development of the theme through color. It comprises in its gigantic "frame" reality and fiction depending on the result of fusing the heterogeneous with bizarreness. Color is what you insert into the space of an imagined reality, so that reality acquires the natural and natural note of an avant-garde attitude that manages to leave the viewers gasping.
In leadership, it is not enough to pick a "default" theme, you must also find those predominant colors of the type "model consequence relations" that can only be visible to connoisseurs.
Color can become a necessary quality, raised within the theme, only if the effect it produces by maximizing emotions, measured through the correlation with a law of composition, becomes the main cause of accessing the depths of the initial idea.
Who manages to find an alternative approach to creation in which color is not only a decorative element, but rather a necessary quality, raised within the theme, is not only a good connoisseur and appraiser of art. But rather, beyond the merit referring to the ability of traversing and retracing composition, he is an artist who can more powerfully express a unifying concept of art, characterized through properties of essence.
Leadership is a major version of the main theme with which the artist presents his artistic approach, with a sustained and subtle touch, as a kind of confessional that retells memories of what it means to be initiated into a fascinating universe called: CREATION.
Art Between Theme And Color stands out as a power of the hidden forces that stir within the depths of the perspectives of understanding the way in which the great rules of the science of exposing ideas are born and function. These rules have their origin in the following condition: between idea and matter there is always a philosophy that equates different concepts.
* Note: Ion Barna - Eisenstein , Youth Publishing House, 1966.