Summer Drawing Classes in the Academic Method at the Ingbretson Studios, Manchester NH
All figurative Christian art, and especially sacred art, is a balance between natural appearances and idealisation. Idealisation is the controlled distortion from natural appearances that enables the artist to communicate invisible truths.
Some people assume that working in a style such as the gothic or iconographic is easier than in more naturalistic styles, but in fact to be able to work in a style well is takes great skill. The artist must be aware of span the divide between the two worlds he is representing. If there is too great an emphasis on natural appearances, then it lacks mystery. If the distortion so too great, then we lose a sense of the material. Artists should be aware too, that in sacred art the degree of naturalism should be less than in mundane art – for example landscapes and portraits.
Pius XII spoke of this in Mediator Dei (195) he refers to this balance (he uses the word ‘realism’ for my naturalism; and ‘symbolism’ for my idealism): ‘Modern art should be given free scope in the due and reverent service of the church and the sacred rites, provided that they preserve a correct balance between styles tending neither to extreme realism nor to excessive “symbolism,” and that the needs of the Christian community are taken into consideration rather than the particular taste or talent of the individual artist.’
The first step in getting this right is studying the tradition to develop a sense of where the balance lies. Even so, different artists will have a different sense of exactly where this balance lies, but even recognition of the fact that there can be excessive naturalism and excessive abstraction and that he should seek the temperate mean goes a long way to getting it right.
The second step is getting the skill to represent precisely both the naturalistic and the idealistic (by reflecting accurately the idea of the mind in the artist). The artist who cannot draw well from nature cannot do this, for no matter how well conceived his ideas may be he cannot represent them accurately if he cannot draw well. Therefore learning to draw well is an essential part of the training of any artist. Regardless of the style in which he ultimately intends to paint in, I would recommend everyone to learn to draw rigorously. The best drawing training (Read More)