Leonardo da Vinci said, “There are three classes of people: Those who see. Those who see when they are shown. Those who do not see.” The task of the teacher is to help the student to see more clearly, not just in art, but also in life.
When I was in seminary, I realized the search for beauty was similar to the search for truth, and each generation had its own notions of what was beautiful and true. When I made this connection, a light came on in my mind and I could see what my professors were showing me. Before this, I was stumbling about in a dark room, banging my toes against unseen couches and table legs. I had the sense of the objects, but not the full understanding of them. Once the light came on, I could see these pieces of furniture for what they were–the color, design, embellishments, and placement in the space were easy to define. They were no longer obstacles, but resting points on the way to the next room on an historic journey.
Some of my compatriots struggled because one philosopher would define truth a certain way and his famous student then would describe it differently. These modern day students didn’t have art backgrounds, but thought of truth as what we know only as true today. Perhaps they also didn’t have much of an historic worldview either.
When Leonardo speaks of those categories of people who see, I think first of children, who seem naturally to see. If we give a child some art tools and a jumping off idea, they’ll run with it. Children love the experience of the materials and get excited when they can use their imagination. They feel empowered when they bring an image to life with their own hands.
Older teens and adults are more concerned about what other people think of their work, so they often won’t even begin. Other times they start and can’t deal with the disconcert between their conception and execution. Every artist who aspires to do quality work is always unsatisfied with either the concept or execution! As Leonardo once remarked, “I have offended God and mankind because my work didn’t reach the quality it should have.”
I brought seashells to class for our painting experience, but before we began our work, I had the students experience a guided meditation. The seashells were hidden underneath a cloth. This is an opportunity to know the shell personally, rather than to see it as a mere form. This “seeing” involves the inner emotions, which affect the energy and spirit with which we create our art. As the master says, “Where the spirit does not work with the hand there is no art.”
1. Study all the surfaces under the cloth before you begin to put marks on your canvas.
2. Are the edges round, rough, sharp, jagged?
3. Do you recognize this object from experience?.
4. What memories or emotions does it evoke in you?
5. What colors do these experiences bring to mind?
6. Is there a person or place connected with this object?
7. What age were you? Would you want to visit this place again at your present age?
8. Remove the cover and look at the object.
9. Does it look different now from an ordinary object?
10. Does entering into an emotional give and take open your eyes to more of the possibilities of the object?
11. Choose a “pose” for your subject and compose a portrait of its personality.