WHAT MAKES A MASTERPIECE?
A painting masterpiece is ’ a portal, or magic
window, that will draw the imagination.’
How is this done, and why are we humans drawn to certain paintings like
Icarus was to the sun, or flies to fly paper?
Why, because the painter desires the viewer to enter into his or her work,
and once there, make them want to dwell a while. How do they do this? By
imagination and the use of all the means, tricks, skill, subterfuge, and
all the techniques at his or her disposal.
They are texture, design, color, chiaroscuro,
aerial perspective, drawing perspective, form and shape. These skills have
been honed over thousands of years and are a proven method to attract the
curious and entice the imagination. They are the basic tools of the painter.
During the previous two centuries a few extra
skills have been added to the painters arsenal.
1. Depth of field.
2. Impressionistic use of color
3. Brushstrokes and the viscous use of modern paints.
All are legitimate tools painters can employ to entice the viewers into
Now that is out of the way, how do we classify
works as masterpieces? By finding their similarities and judging whether
their differences are relevant differences. For this purpose I list below
ten pre -1900 paintings I class as masterpieces. This is not to say there
Giorgione - The Tempest
Vermeer - Girl with pearl earing
Leonardo - The Mona Lisa
Rembrant - The night watch
Caravaggio - Calling St.Mathew
Velazquez - Las Meninas
Titian - the assumption
Watteau - The clown -Pierot
Turner - The fighting Temairaire
Gerome - Police Versa
THEY ARE ALL SHOWN ON THIS PAGE
It is assumed that what binds these paintings
together is more relevant than their differences. So what binds them? Here
we must almost become Toaist in our answer. The artists all ‘walked on
rice-paper but left no footprints’, ie, more becomes less. In all these
works there is mystery, subtlety and a magnetic attraction. The technique
is so skilful, so masterful, so seamless, it is unnoticeable. Like the
great actor who makes the audience forget he or she is acting; so does
the great painter do a similar thing for the imagination. That is what
requires the skill and technique.
This is not something dependent on the degree
of reality of the scene or the portrait, nor is it dependent on the degree
of unreality of the same. It is something else.
So, I will list what binds these paintings;
1. They all have an element of mystery
2. They all have a technical mastery that is sufficiently high to make
it instantly secondary, un-noticeable.
3. They all visit a moment in time and space that fires the interest and
imagination of the viewer.
4. They all pre-suppose the viewer can share a human understanding and
common experience with the painter.
So, what does all this prove?
Not much, but I still like to call the process ‘the magic of painting',
and coming across a masterpiece can take your breath away. It is worth
Note: any of these paintings can be viewed,
in full, by going to my links page and following the research links. (Police
Versa is in the Renassiance Cafe, Titian's Assumption can be found through
a Yahaoo word search)
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