The Eye Follows The Purity Reflected In The Representations Of Nature

What you feel in the particular form of the pleasure of admiring depends on how you contemplate a simple product of nature until it becomes a work of art.

One day I will finish writing the “Treatise on the Eye”, a volume of over 2,000 pages containing just as many ways of seeing a single blade of grass. Yes, a common blade of grass. And if in the modern world this subject of the distinct look is highlighted less and less, having its own individuality, so that almost any possibility of highlighting the idea of “fragility in temporality”, excluding the subjective interpretation, has been lost, I will add a good part of reflection and imaginary restlessness as to reinvent a whole science – such as that part of optics about the propagation of light in interaction with material media.

On this favorable ground of vision not direct, but mediated by the work of divine grace, spread in all parts and belonging in a way and form to each individual, but especially to the chosen spirits, only the manifestation of an artist’s soul that aspires to communicate nel linguaggio della pittura naturalistica, can reconstruct the pattern of meaning of a single blade of grass like a labyrinth in which you get lost at your pleasure, without fear of getting lost.

Revelatory and directly responsible for ensuring a meticulous view, joining the artistic emotion with the current feeling of a metaphysical fullness, the artistic eye always asks itself the question: how to contemplate a minor photographic detail, so as to widen the space of sensitivity? Let’s take this into account in order to understand the vision of the artist’s eye.

The blade of grass in front of me, such a body that is in complete identity with the light, with the heat and with the moisture in the atmosphere, cannot be reduced to indifference, because otherwise the pictorial landscapes would be devoid of soulful content. The very greenish color of the blade of grass appears as a force of attraction to the eye, as an amplification of vision in the direction of an inner psychology, and even if it does not reflect the light like a concave mirror, at least it allows the light to pass through it like through a unique stained glass window, remaining alive and active in the image of a heterogeneous optical environment.

Are you able to assert your passion for uniqueness in a large figurative composition whose “dominant chromatic” captures the vastness of feeling through the expressive intensity of a derisory element?

At this very moment the artist in me relies on the fact that he has in front of him a double image reflected in the field of a visual symmetry: between the shapes and the colors that beautify the space. At the same time, the artist in me sees both the light and the blade of grass, two distinct presences that merge perfectly, framed in an anticipated, comparative space, expressed through meanings arranged simultaneously in a Zavisforsys Ulttras(the force of the spirit integrated into the very style of the drawing). Only he who has cultivated within himself the sense of analogy, only he who has successfully combined the logical sense of image with form, will reach the ultimate beauty.

In one far superior respect, both inseparable sides of the artistic vision – ideal and real – even if we see them given separately, yet they coexist in the same image, in the same two bodies: one earthly, the other heavenly. The blade of grass and sunlight, as prismatic phenomena, are by no means in opposition. That is, they do not oppose in polarity between cold and warm colors. And this is precisely what is necessary to establish the coordinates of a painting in which the colors merge over the entire surface, to the extent that the forms are understood, that is, they derive from the method of comparison which is based on the application of the method of reduction to unity.

So a single blade of grass in the middle of the lawn can be established in identity by sunlight, remaining perfectly green in its absolute simplicity, as long as it is perceived as a passive figure in the intimate harmony between nature and art, or as long as it expresses by comprehensive meanings a story transposed in an emotional note. Only in this way does the artist in me manage to translate a single vision into art: by trying to accurately capture the elements of reality, but in such a way as to replace the status of “receptacle for emotions that come from everywhere” with the status of an infinite creator.

Can you bring out the passion of a life lived through creation, in order to obtain an overall effect of the inner reality peeled from appearance, independent of the model of the gaze that can adjust the meaning of the aesthetic vision?

I realized that my eye, in a perceptive relationship with the aesthetic delight of the viewer, manages to traverse the space of metaphorical richness specific to cultured creation. Look carefully ! Look at the blade of grass investing it with that aesthetic attitude that is characterized as a state of inner peace, a state of supreme moral and intellectual relaxation that takes you to the most imponderable areas of spirituality. Moreover, it would not be possible to approach it aesthetically except by perceiving it as the manifestation of spirit in matter, Identhimevah Reshiantiss, projection of an artistic sensibility expressed in a value and confessional sense, related to calmness, tenderness and soul balance.

The artist’s eye must endure the same implacable laws as any emotional expression, and the first law is this: “what you feel in the particular form of the pleasure of admiring, depends on how you contemplate a simple product of nature until it becomes a poem or a painting “. After all, only a simple contemplator of nature, trying to know the meaning of a single blade of grass, could penetrate into his life as he would into the soul of man. And what would he find there, in the interval of space that separates and unites at the same time, in a perceptive relationship, the work of nature with the viewer? He would find the very depth of an infinite world.

So, through a single blade of grass we could identify expressiveness in communion with the sublime of nature, at least to clarify intuitively and logically, by imagination or by intellect, the dominant tendency to restrict the word beautiful to the aesthetic value of charming. Here I summarize the famous phrase: “art has the function of revealing a mysterious hidden corner, masked by everyday banality”.

The focus is on the content. For the blade of grass to appear perfectly in a picture of sustained artistic activity, for it to be able to give value to the vivid, intense, vibrant color worthy of the original of an emerald green, there must first be the possibility of recognizing it as a defining element in the maximum plane of emotion, with the measure of the eye that follows the purity reflected even in the derisive representations of nature.

When leadership comes from the depths of art, bearing the signs of individuality and fragility, it is loaded with that boost of depth that gives the prestige of looking closely, that acuity of the look that perceives the “miracle” with a predilection where you would least expect it.

The Eye Follows The Purity Reflected In The Representations Of Nature when the artist finds advantageous motivations in a generous environment in which BEAUTY, under all compositional aspects, constitutes an essential and major coordinate of existence, reflecting in the environment of a life dedicated to knowledge, in the concern of establishing an aesthetic universe.