For several years in a row we grew sunflowers in our backyard. The sunflower is an impressive plant in full bloom, and from time to time I would wonder how I would render into words what I felt when I beheld them. We eventually bought a print of “Sunflowers” by Vincent Van Gogh and hung it in our living room. It seemed to me that Van Gogh had rendered with paint what I would have liked to render with words. As I understand it, there are painters who replicate the works of The Masters, sometimes to be sold as expensive forgeries. Their technique is so refined that it generally takes an expert in the imitated artist’s work to tell whether a painting is a forgery or the real thing.
Whenever I hear artists, whether painters or writers or composers, discussing craft or technique I think of Van Gogh’s “Sunflowers” and these highly skilled replicators. If a work of art were only a work of craft, of technique, why would anyone with such skill bother imitating what someone has already painted? Since you have the same skill as the masters, why bother with forgery?
The answer, of course, is that Van Gogh’s “Sunflowers” was not a product of technique. Van Gogh perceived the beauty of the sunflowers within himself and translated this perception to the canvas. The technique aided greatly in this translation, but first and foremost came the perception. Moreover, after the perception and before the translation came the willingness to share what was neither Van Gogh nor the flowers but a marriage of the two.
This is not such a simple choice. The forger already knows how the world will receive what he is replicating. Van Gogh did not have this luxury before he dipped his brush. Such is the price you pay when creating something new. Technique without original perception is as dead as a hammer. Technique in service to perception can bring anything to life.
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