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Art & Culture
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COURTESY OF THE ARTIST James Gurney, “Dinosaur Parade”. Oil on canvas mounted on on panel, 24 in x 48 in (62 cm x 122 cm).COURTESY
The Fantastical World of Imaginative Realism BY KARA LYSANDRA ROSS
Fantasy art is one of the most misunderstood categories of the contemporary realist movement. It is normally discredited by being called illustration, since much fantasy art is created for novels and books. But until recently, most realist art was denigrated in the same fashion. Critics claim that all figurative work is “only illustration”, but in truth, there is nothing simple about illustration or fantasy art. Although there are plenty of great examples of this genre used to illustrate books, they take every bit as much imagination, skill, and understanding of technique as other forms of painting. There are also a large number of fantasy artists who choose to paint surrealist and nonexistent subject matter without a specific commission for a book in mind, but simply out of a love for creating subject matter that doesn’t exist in the real world. Science fiction, fantasy, and magic realism make up a huge genre in movies and literature, so why should it not be the same with painting, drawing, and sculpture? Accepting this imaginative style of art as a legitimate form of human expression will broaden the types of subjects mankind can explore, and may enable a viewer to understand emotions and themes in the real world via the artist’s ability to abstract the subject by using the realistic human form and recognisable imagery. What matters is the work’s ability to communicate the human condition. In support of such endeavours, there are groups that have formed, which delineate differences between fantasy art, science fiction, and what they call imaginative realism. The Association of Fantastic Art, founded by Patrick and Jeannie Wilshire, is one such group. “Imaginative realism, a term
coined by ARC Living Master James Gurney, illustrator of the famous children's book Dinotopia, is increasingly used to provide an inclusive but clear delineation of this artistic school,” the Wilshires say. “‘Fantasy art’ can be an extremely broad term,” they say, “and yet at the same time can be exclusionary, as in ‘fantasy art’ versus ‘science fiction art.’ ‘Imaginative realism’ clearly denotes traditionally created imaginative subject matter, handled in a realistic and narrative style, regardless of the specific treatment or thematic content, and at the same time clearly denotes the field’s link to the classical realists of the past.” Mr. Gurney himself defines imaginative realism as “a convincing portrayal of something that cannot be observed directly”. This brings us to another important point. What is so bad about good illustration? During the 19th century, the best illustrators of the day, such as Arthur Rackham, Edmund Dulac, and Eleanor Fortescue Brickdale, were revered as great artists. Norman Rockwell, the most famous of American illustrators, was not only successful during his day, but today his major works are worth millions. “One thing that we like to say in our lectures,” the Wilshires point out, “is that there is no such thing as an illustrator. An illustrator is just a painter who tends to have publishers for clients, just as other painters have galleries, collectors, or patrons as clients.” Contemporary realist illustrators get a bad rap because of the negativity associated with the word. Although not every illustrator is good, the best are still great artists. This is the same with portrait artists, landscape artists, and any other division of figurative art. Modernists used the word “illustration” to denigrate all figurative art, which is how the
Donato Giancola, “The Golden Rose”. Oil on paper mounted on panel, 48 in x 36 in (122 cm x 91.5 cm). COURTESY OF THE ARTIST
Richard Bober, “Glorantha”. Oil on board. COURTESY OF THE ARTIST
word got its negative association in the first place. They would call works by John William Waterhouse, Edward Burne-Jones, and Edmund Blair Leighton illustrations, because they show us, through recognisable imagery, scenes from famous stories of the day. Actually, every figurative work is illustrating something. Even religious paintings from the past are illustrating the life of Christ or scenes from the Bible. Illustration is how we communicate through realistic images, by painting a picture that captures thoughts and emotions. Today there is a growing group of artists, collectors, and fans of this imaginative realism, based on the techniques of the past but with modern-day imagination. This year,
the Association of Fantastic Art in coordination with the Allentown Art Museum, Pennsylvania, USA, will be putting on a groundbreaking exhibition: AT THE EDGE: THE ART OF THE FANTASTIC, from 3 June through 9 September 2012. This exhibition will span the timeline of this genre, including over 150 paintings from the Romantics and Pre-Raphaelites through the Golden Age of Illustration to the present. The show foreshadows an ongoing relationship between these two organisations, and in 2013 the museum will become the regular venue for the AFA’s annual juried exhibition, IlluXCon, which features over 1000 paintings by select imaginative realist artists, and includes educational lectures
Edward Burne-Jones, “The Beguiling of Merlin”, 1874. Oil on canvas. An example of one of the 19th century paintings that were imaginative and are considered very important today. COURTESY OF THE LADY LEVER ART GALLERY
on painting and the genre. Although for the past few decades, this art was considered a step below fine art, recently it has gained quite a lot of traction. Even the head of Angel Academy, Michael John Angel, a world renowned artist and instructor, is in full support of this movement and has served as a judge for IlluXCon in the past. “In a time when the vast majority of representational art concentrates on everyday life (genre and
portrait),” he says, “it is inspiring to see Baroque-like Baroque-like action paintings that conjure ideas of adventure and of spiritual journeying, visually replacing, to a large extent, the mythological mythological art of past centuries.” It will be interesting to see how this genre of painting will evolve and merge with venues that have traditionally turned their backs on what is now becoming a mainstream part of the contemporary realist movement.
Chinese Traditional Culture
Value Justice Over Self-Interest, and Maintain a Clear Conscience Co nscience BY QINGYAN CLEARWISDOM.NET
During the Xifeng period of the North Song Dynasty, there was a teahouse located next to the Fan Pavilion in the Capital City. The teahouse business was quite prosperous. One day, a patron whose surname was Li was having tea with an old friend. It was hot that day, so Li took off his jacket and placed it on the table over his pouch, which had many gold pieces in it. After he and his friend had finished chatting, Li left the teahouse but forgot about his gold pouch. He later discovered he had left his pouch behind, but he believed that someone would have pocketed it already, as the teahouse had been very crowded that day. About four years later, Li came to the teahouse again. With no expectation of finding his gold, Li mentioned the pouch that he had lost years before. The teahouse owner overheard him and asked, “Were you wearing a jacket that day?” Li said, “Yes!” The owner continued, “Was your friend wearing a leather coat?” Li replied, “Yes!” The owner said, “I saw that you had left your pouch behind, and I went after you, but you walked
It is only when one is influenced by acquired notions, or is tempted by personal interests, that one cannot adhere to one’s purity, generos generosity ity,, and and moral moral principl principles. es. so fast that I eventually lost you in the crowd. I put it away, because I thought you might come back for it the next day. I never even opened it. It was very heavy, so I guess maybe there were gold pieces inside. If the pouch is consistent with your description of it, you can have it back!” Li said, “If you can find it, I will split it with you.” The owner smiled but said nothing. Li followed the owner upstairs and saw many items such as shoes,
umbrellas, clothes, vessels, and so on, which customers had left behind. On each item was a tag, marking the date as well as a description of the person who had left it. If unknown, it was just marked “unknown”. In a corner of the attic, they found a cloth pouch, dated and marked. After he went downstairs, the teahouse owner asked Li again about the amount of gold inside. Li told him the amount, and his host opened the cloth pouch. The amount of gold matched what Li had mentioned, and the shop owner gave it to him. Li wanted to express his appreciation by giving half of the gold to the owner. The owner said, “If I only attached importance to how I could benefit and didn’t care about being honest, then I would have hidden your gold. In that case, what could you have done? Would you have been able to take me to court? My rationale for doing what I did is not for material benefit, but because I want to live with a clear conscience!” Li realised that the owner would not accept his offer. He was embarrassed but thanked the owner again and again. The owner responded cordially to his thanks. Later, he tried to invite the owner t o the Fan Pavilion for a drink, but the owner declined.
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At the time, there were more than 50 people in the teahouse. They spoke in admiration about what the owner had done, saying that such things were rarely seen in the world. We often hear of our elders saying “Never do anything that goes against your conscience.” There is also an
ancient saying, “When people are born, they are morally good.” Actually, there are still many situations in which we are able to distinguish good from evil. It is only when one is influenced by acquired notions, or is tempted by personal interests, that one cannot adhere to
one’s purity, generosity, and moral principles. A real gentleman should revere gods and Heaven, follow the moral standards required of human beings, govern himself with prudence and self-discipline, and maintain a clear conscience in every deed he does.
