The della Robbia family created extraordinary polychrome, lustrous terracotta sculptures, tondos, freizes and other architectural ornaments throughout the 15th century in Renaissance Florence. Three generations, Luca, nephew Andrea and his son, Giovanni, ran a workshop famed for their innovative techniques of glazing terracotta pieces, deemed a “new, useful, and most beautiful” way of adorning buildings sacred and secular. Many of their pieces grace museums around the world; they are a delight to enjoy.
Read MoreRenaissance
Playing in art - revisited /
I talked in an earlier blog about the insights into the value of play in our daily lives and the role that play has in allowing artists to develop and create. I was reflecting again on the way artists can play in creating art, and realised that there is another aspect to this activity of play.
When I am drawing or painting, a private game that I play with myself is seeing how I can convey the essence of my perceived reality - be it landscape, flower, person - with the minimum of lines (in drawing) or colour (in painting). I try to distill the subject to the absolute minimum of detail which still allows the viewer to recognise (more or less!) what is being portrayed. Each work is an endlessly interesting challenge in this respect. Organising abstraction as visual elements that convey reality is really a game to see how best one can succeed in minimalist depiction of the subject matter. Artists have done this since time immemorial - think of the essence of bison galloping across the walls of Altamira or the aurochs of Lascaux. Dolphins cavorting across the frescoed walls of Minoan palaces and octupii reaching around their painted ceramic jars come to mind too. In all these cases, the imagery is distilled and organised almost to the point of abstraction, yet utter realism results - powerful, arresting and memorable.
Altamira Caves, rupestrian art
Dolphin Fresco, Knossos, Late Minoan Period (ca. 1500 BC)
Old Masters, from Renaissance times onwards, also skilfully selected and simplified design elements to make their compositions more successful and beautiful. They used the abstraction of closely related values joined together in massed forms, which allowed the viewer's eye to be led to the focal points which are depicted realistically. Abstraction was certainly not the "invention" of the 20th century. If you carefully study any good drawing or painting, of no matter what era, that is purportedly realistic, you can see all sorts of amazing elisions, squiggles, blobs and lines that seem to have nothing to do specifically with the subject being depicted. Yet, when looked at as a whole, the art is convincing. I am sure, too, that the artist was probably having fun and enjoying playing as the work progressed.