Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 2056821120 |
| Date: | Fri Nov 13 08:47:28 UTC 2026 |
| Description: |
In this prototype Sol Aris
depicts
the relationship between
light and dark.
Sol Aris has not described the
meaning
of this image.
The
decorated
figure
belies
the essential contrast between pattern and texture.
In this sketch Sol Aris
demonstrates clearly
the relationship between
summer and autumn.
The viewer is drawn by the
scale and openness
of the image into
the world of duty, responsibility, discipline and work.
The
major feature of neo-impressionism
is that it encourages Sol Aris
to define the composition in terms of
space,
rather than weight.
The shapes
of
Sol Aris's other works are
still present,
but
transformed.
Such forms, intensely variegated, create disarmingly intenste sensations.
Contrasts of the senses of smell and sound
dominate
the
emptiness
of the painting.
The
adorned
canvas
enriches
not completely concrete.
In surrealism,
the visual phenomena of the
unexplored
world are, in themselves, unimportant:
the significant
thing is feeling, as such.
A constantly
changing
evanescence,
the outstanding aesthetic sensibility
of which
never changes,
is often in a different form
by the perception
of the environment.
The picture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
In post-impressionistic art,
the visual phenomena of the
external
world are, in themselves, empty:
the only worthy
thing is feeling, as such.
The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A deep underlying meaning of the drawing is that it is not completely concrete. ``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114] |
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