In the coming months I intend to contribute many posts on the subject of “creativity”. As most of these will be taken from my book “Fresh Insights into Creativity“, it seems appropriate to start with an excerpt from its “Introduction” :
Excerpt from the introduction to “Fresh insights into Creativity”
A need to understand the nature of ‘creativity‘ has been with me since I was a teenager. This volume is the fruit of a lifetime’s search for answers to questions relating to this subject. For those who wish to go deeper into the ideas on offer, I have written three other books. Two of these provide practical help for people seeking to improve their artistic skills. The third is a scientific book. This describes the research and the ideas emerging from it that are largely responsible for the originality of the other three books. The science concerns how the brain, first, makes sense of and, then, makes use of the patterns of light that enters the eyes. Their titles are: “Drawing on Both sides of the Brain”, “Painting with Light and Colour” and “What Scientists can Learn from Artists”.
An unexpected development
I was fifteen years into my life as a practicing artist and occasional teacher of drawing and painting when, quite unexpectedly, despite my lack of relevant background as a scientist, I was offered an opportunity to become involved in scientific research. After some hesitation, I seized it in the hope that the scientific method might help me make sense of a range of painting, drawing and teaching related questions to which I had been seeking answers in vain.
I hope you enjoy the attachment below, which is about the accuracy versus expression debate. It is the first chapter of my book “Drawing on the right Side of the Brain“, in which I compare the expressive potential of searching for accuracy relative to that of other artistic goals that lead to different manifestations of inaccuracy, whether it be in the guise of distortions, abstractions or any other kind of deviation from accuracy. My conclusion is that not only art history but also the outcomes of my experience as a teacher, as illustrated by the work of my students, show that both have the potential to inspire artistic creativity. The drawing of Durer’s Mother below is one of the six illustrations in the chapter, three of which provide examples of the expressive potential of the search for accuracy, while the remainder provide examples of the expressive potential of researching deviations from it.
WHY THE NEED FOR A FORTIFIED TOWN IN THE NORTHERN ALBIGEOIS IN THE YEAR 1222?
What I have written below is the result of my efforts to sort out contradictions in the stories concerning the origins of Castelnau de Montmiral that were going the rounds when I first arrived in the town and started teaching at the Painting School of Montmiral in 1988. I cannot claim it to be a definitive history but it represents the best story I have been able cobble together on the basis of the “facts” that I was able unearth. A condensed version appears in the main website on the history page of the main website.
Porte de Garrics : the ancient entry to the town of Castelnau de Montmiral
It took the inhabitants of Castelnau de Montmiral more than 20 years to complete the now tree-lined esplanade that today runs along its north-east facing side. It was ready in 1622, just in time to impress King Louis XIII who stayed there and, amongst other things, is said to have eaten plums in the street, now known as ‘rue Gambetta’. He was on his way to deal with a Protestant uprising that had occurred further South caused by the failure of the local Catholics to keep faith with the Edict of Nantes, which had legally guaranteed freedom of worship for the Protestants.
A main reason why the new esplanade took so long to put in place was that previously there had been a steep escarpment, sloping precipitously down from the still massive ramparts that encircled the town. It is difficult to imagine the quantity of earth and rocks that must have been moved to raise the ground level to its present height, the original rampart walls are seldom visible, as they are now largely obscured by houses that have been built in front of long stretches of where they were located. Likewise the formidable slopes are hidden by the raised and levelled surfaces that were created when constructing the esplanade and the various roads below. All these necessitated great works made possible by men using buckets, wheelbarrows and oxen-drawn carts to move what must have seemed to them to be mountains of stone and earth.
Extracts from my book “Fresh perspectives on Creativity” (1)
My first fresh perspective is an extract from Chapter 10 : “Having Fun with Creativity”. It tells the story of a painting made by a primary school child with learning difficulties
It is always the case that a great deal of what goes into paintings is hidden and, with it, much of what has been put into them. This point that can be clarified by means of a true story relating to a child with learning difficulties told by his primary school teacher.
George, as I shall call him, was an amiable lad, but never seemed to want to join in what others were doing. One day, during a painting session, the teacher was delighted to see him applying himself with great concentration. She hurried over to see what had caught his imagination and found that he had produced a light-brown oval shape in the middle of an otherwise empty sheet of paper. He was obviously pleased to see her and held up what he had done asking with pride in his voice, “Do you like my potato, Miss?” In itself, George’s production wasn’t very impressive but, sensing an opportunity for a breakthrough in his attitude to school, she enthused about it, suggesting, before leaving him, that he complete the picture.
To make it easier to find the Post that interests you, I have created a contents list divided into five categories. Most of the material in the categories “drawing”, “painting” and “creativity” comes from my books on those subjects. In addition there are sections for “Painting School News” and “Miscellaneous”. As a Preface to these there is a Post that explains the need for the material that can be found in my books.
The contents list detailing five categories and the Posts to be found within each of them:
This post on Horace Lecoq Boisbaudran was promised in to the New Year Letter to Studentsposted in the category “Painting School News“. In this I mentioned the similarities between the teaching methods of Horace Lecoq Boisbaudran and mine. In later posts I will be saying more about these. Meanwhile here is an extract from the “Glossary” to “Drawing on Both Sides of the Brain” that provides an introduction to his ideas and his influence. I have also added the entry for Alphonse Legros, described as his star pupil, who had great success in spreading his ideas to both his own generation and the following ones.
Click below for a contribution to the accuracy versus expression debate. It is the first chapter of my book “Drawing on the right Side of the Brain” which is made up of two volumes: “Drawing with Feeling” and “Drawing with Knowledge”. The drawing of Durer’s Mother below is one of the six illustrations in the chapter used to illustrate the expressive potential of the accuracy aspiration. Please enjoy.