- Apples [w/ PLU Sticker] in Pewter Bowl : ( w/r/t the history of Still Life painting) 37” x 46” – Digital – inkjet collage – 2016
A realistically drawn apple may be read as the mastering of a skill in the field of representational drawing. There are endless ways in which the drawing can be done: varying materials, altering the approach in tackling formal qualities, playing with scale to name but a few.
The subject of an apple, or, bowl of fruit, allows for a connection with 2-dimensional art’s tradition, its history in both the academic “learning how to draw” and the prominent genre works found in painting. This connecting to the past empowers the apple, the fruit as subject matter, referencing a linear progression comprising any true discipline or study which, in turn, genially accounts for its validity and, yes, its relevance.
Depending upon how “good” the drawn fruit is (honoring the laws of realism) will determine the level of mastering. The drawing becomes somewhat of a biographical sketch of where the artist is at the time in the advancement of a learned technical skill. Like hitting the perfect note in music, the wows of the viewer are in response to the artist’s performance, the result of a practiced skill, the visual cue to an artist’s bettering this sought-after facility. We are struck by the artist’s ongoing mastery of drawing something convincingly “real” on a 2-D surface.
In looking at a drawing of an apple or fruit Still-life made today, we might be asked to look at it not in terms of success or failure of a bench-marked realism, (our go-to assessment as viewers) but rather in terms of the choice of subject matter itself. It is in the choosing to draw an apple, fruit bowl that is now our subject matter. Not unlike our original choosing of the apple, the enactment, the act of drawing or painting is now our content.
The weight fruit carries today is not the same in origin, when introduced as subject as it was for Bruegel, Chardin, Courbet. Our supermarket-stickered fruit reads far differently than the anonymous peasant apple-carting of a Bruegel, the bourgeoisie interior sitting-room of a Chardin, or the crumbling aristocracy of a Courbet. Our fruit drawings or paintings hold all of these weighted meanings in reference and tribute which is now our subject.
In today’s world of the ease of digital rendering, and, an omnipresence of PLU- stickered fruit, the romantic notion of a fruit bowl set in golden-hued light on an elegantly arranged table seems foreign, out-of-date, remote, exotic. The only connection to this is precedence, art’s own history’s role in continuity of subject for meaning. We paint and draw fruit because we know painted and drawn fruit register as art. Still-lifes are wonderful rendering workshops and tradition gives us the proverbial nod to go right ahead and draw the apple, so to speak. Weight of subject matter is found with a nod from history and the enactment of the actual making.
The art part, if there is any to be found, might arise, for instance, from the enacted, the activity or ‘scene from a play’, [maybe Chekhov in spirit?] where the fruit bowl is set upon an old yet elegant gate-legged table, and a drawing is worked on by an actor on stage, the actual result never seen by the audience.
The fruit bowl need not be drawn or painted well, poorly, or … at all, even, for the visual prompt to our much larger subject matter is there, found in the reference to an acceptable academic art-making approach and made real by our artist’s set-up of easel and oils; and, our artist, maybe long-since disillusioned —- yet still searching for meaning in a palette of colors fully within physical reach, but, irretrievably lost to one’s failing eyesight or quickly closing memory.