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.
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.
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 Both Sides 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.