What Does The Eye Lack To Perfect Its Vision?
You cannot admire a thing for its beauty, unless you have thought it beautiful before you liked it.
What makes a random thing like the oil painting on my wall stand out from the crowd is its profoundly different meaning, investigated through a probing question: “Is there a secret hidden here?” And even if the painting itself depends on my eye’s property of identifying the universal only through the particular, using here and there the process of allegory, the eye will never be able to use sight in such an unfettered way as to explain the basis of a satisfactory image through a few things.
The eye and beauty in art: perspective ! Let us look for some beautiful, unsuspectedly beautiful things, admire them for their inner or outer beauty, and try to reproduce in drawing an image of them. I believe that absolutely all the surrounding elements, once noticed and reproduced for the intrinsic pleasure of the artist to paint memorable moments, constitute a decorative art of visual origin, art that naturally develops on the basis of a sensory sensibility.
Yes, perhaps I am sensitive at times, especially when I look at a thing with that love that I should be afraid of hurting, a thing taken in relation to myself or the environment. Fact that often makes the transition from the egocentric orientation to the orientation towards the individual experience of understanding the outside. Basically, it is about that aesthetic sensibility that resides from the boundless admiration for the artistic spirit, born from a sweet delirium to which pride is indulged, which you have for a thing to which the vision of the soul is linked, through which man understands the things of reality seen and unseen.
Can you convey the emotion manifested by a good visual contact with the thing that attracts you beyond words, in accordance with the norms of a simplicity that emphasizes the titanic dimensions of a vast horizon?
Therefore, the aesthetic sensibility plays an essential role in a well-ordered system, because the very eyes make me anticipate a law of art: “you cannot admire a thing for its beauty, unless you thought it beautiful before you like it”. I don’t say this for nothing. Because in my soul at that moment I felt the emotion manifested by a good visual contact with the painting that attracted me beyond words, probably mirroring the language full of poetry of an artistic eye that, fulfilling a duty of admiration towards the landscape represented, manifests itself as an illumination of the horizon.
Instinctively, not just imaginatively, I would say that I know what my eyes represent when they are in front of something: I recognize them immediately, I appreciate them as aesthetically harmonious. In other words, the eyes represent a source of memory that never exhausts its subjects or models, without troubling the problem of beauty except when “measure and proportion” vastly exceed in beauty and in execution.
In fact, I would say that the eyes represent the vast horizon of aesthetic concepts integrated in any creation, having the scope of a vision that integrates the immediate in the high dimension of various meanings.
At one point, Socrates asked the beautiful and all-knowing Hippias what beauty itself is, that which added to anything makes it beautiful. And Hippias gave the answer, slightly thoughtful: “the beautiful is the same as the advantageous and the useful, but the beautiful ones are very difficult”.
In this case, the thing that attracts my attention is not so much a simplistic painting, part of it chromatically depicting the spring season, but precisely that weight with which I understand and appreciate simplicity, better than anyone else.
Do you turn your gaze excessively to those things so minor, but inherent in the constitution of a vast plot expressed by shaping the infinite into the finite?
Often people do not see what is right in front of them. And seeing, they think they know how to see. I say this because not everything we see represents a vision of the eye, filtered through a chromatic modeling process that involves suggesting light by mixing white in color, and shadow by adding black.
But what happens if my gaze is directed in excess to those things so minor, but inherent in the constitution of a vast plot expressed by shaping the infinite into the finite?
Well, I could find a first answer based on a differentiation of reflected and narrowed light. First, I would start from the idea that any insignificant thing can take the value of the greatest thing, only if you know how to look at it. For example, a leaf, if it is seen with a magnifying glass, or under a microscope, point by point, it would seem like a huge territory inhabited by an infinity of micro-organisms. So, any minor thing can be seen as a great whole, or as a fortified labyrinth, with many tunnels leading in different directions, especially if the eyes know how to perceive the reality from the interior of a temporary, imaginative structure.
Even I would be wary of placing myself anywhere but the most trifling thing, for it would be to neglect my artist’s eyes – eyes as penetrating as a magnifying glass, or even as a microscope. In fact, any small detail can represent, quite by chance, the very micro-organism that, together with other micro-organisms, forms in the depths of the drawing the configuration of a symbol perceived only by those who know what they are dealing with.
Not everyone knows how to see infinity in a single point, taken at random in a drawing where each line is a separate object.
The theme that is on the order of the day, on the leadership menu, is the art of looking at things as a whole that shows traces of recombination of different elements, but capable of determining a new overall structure.
Elements such as color, appearance, authenticity, the content of the theme, the symbols addressed, all based on the study of the soul.
What Does The Eye Lack To Perfect Its Vision? Maybe he lacks the ability to differentiate perceptually the characteristics of the elements that make something exceptional. Or maybe he’s missing the artist’s double vision that doesn’t go away when he gets modified optical correction, ranging from long distances to intermediate and short distances.
