by Monica Chamness
Staff Writer
Art is a very nebulous thing to define. Some perceive art as a painting of a girl on the seashore. Others may connect with art characterized by bold strokes of color. Regardless of the individual’s preference, most people want to know what it means.
Unraveling the hidden meaning in a work of art can be a daunting task, but there are ways to illuminate the interpretation process.
“Confronting a work of art deserves some education,” said Debra Murphy, associate professor of art history at the University of North Florida. “People say, ‘I know what I like,’ but they tend to like what they know. To really understand art takes some effort.”
She suggests books on the topic or taking an art appreciation class.
Well-recognized within the art world are basic elements of design: line, form, color, shape and texture. Line refers to the sharpness of the edges of a figure or the clarity of contours within the piece. Form relates to whether a piece appears three-dimensional and how balanced it appears.
“If proportions are harmonious [i.e. if a body has arms of equal length] it is thought of as having good form,” explained Hope McMath, director of education at the Cummer Museum of Art & Gardens. “If proportions are exaggerated, like large heads or long arms, it can lend tension.”
Shape is best expressed as composition, how the items on a piece are arranged. Some works of art may taper to a point within the fram, some may have a circular pattern.
According to Terry Netter, dean at Jacksonville University, looking for meaning in art is useless. He likens the pursuit of meaning in art to the pursuit of meaning behind instrumental music. What he does agree with is quality in composition and the need to read up on art history and aesthetics.
“All art is an expression of the artist’s mind and heart,” he explained. “I don’t agree that all art is relative. It’s not just a matter of taste. Everyone that listens to a performance of Beethoven will have a slightly different experience but everyone should have enjoyment. In visual arts, it’s never what you do but the way you do it. The best way to appreciate it is to look at it with open eyes. If a painter could put his ideas into words then why the hell would he paint it.”
For painter and sculptor Marsha Glazière, creating is intuitive. It’s all about technique and instinct when it comes to her works.
“To set out to do something intentionally would be more like interior design,” she said. “When people look at a work they need to recognize something or they get turned off but it’s important to recognize that even if it’s not representative or interpretative, it doesn’t mean you can’t get a good feeling about it.”
Ellen McAnany of the Artist Advocate recommends learning about the artist and how that person used the materials in the piece. For classical pieces, the time during which the work was created also needs to be considered.
“If you look at at artists in the 20th Century, symbols are exceptionally personal so the viewer may not have a clue,” said John Bunker, artist and former director of the Cummer Museum. “Before the Renaissance, art was for the illiterate public so symbols were crucial. One symbol still used today is a dove for peace. But there is no universal code of symbolism unless it’s a religious painting.”
“Symbolism is mutable, not universal or permanent,” concurred Jeanette Toohey, chief curator at the Cummer Museum. “It depends on the kind of art, who produced it and where. For example, French landscapes of the 19th Century would require a different set of interpretative skills than a Dutch still life. You would need different resources.”
If the lay person is trying to unravel the hidden message behind a piece with religious content, there are likely materials available. Even secular pieces pre-20th Century are covered in many art publications. That raises the question of modern art and its nuances. Lines can be used to convey certain states: diagonal lines may be used to create excitement and horizontal lines can be employed for a more static effect. In American society, the color blue is often associated with sadness, while warmer colors may suggest happiness or even anger. The artist could use color just to attract attention to a focal point on the canvas or to give a feeling of depth. For instance, cooler colors can represent distance. However, there are no hard and fast rules.
“Some insist that the [artist’s] intention is not important,” added Murphy. “With non-objective art where nothing is represented, it’s difficult for the novice. What’s characteristic of modern art is that it’s more about the individual then society as a whole. I tell my students that art is communication. You don’t have to like the message but try to appreciate it.”
In the case of contemporary pieces, Jacksonville Modern Art Museum curator George Kinghorn takes a visceral approach. He suggests observing how the artist worked with the elements of design to convey an emotion or replicate real life.
“Typically you’re looking for compositional cohesiveness,” he said. “So much of contemporary art defies set criteria, so look at the mood and expressive use of color.”
For those determined to apply some sort of method to demystifying art, McMath offers the Feldman Approach to art criticism. First, describe the work objectively. Analyze similarities, differences or repeated patterns using the elements of design. Use expressive language to interpret the piece bearing in mind the relation of components within the piece. Lastly, contemplate on the sensations or ideas communicated using knowledge about art philosophy, aesthetics and people in general.