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Everything posted by Jonathan

  1. Judith: Rand said nothing of aesthetics while presenting her philosophy on one foot, and I don't think that she would have identified "romantic realism" as the essence of her aesthetic theory (she believed that art could be judged as good, or even great, whether one agreed with it or not, enjoyed it or not, and whether it was "romantic realism" or not). J
  2. I looked on but couldn't find any threads about NB's website.
  3. Jonathan


    Pat Boone
  4. Highly recommended: Finding Forrester William Forester (Sean Connery) is a reclusive author (something of a J. D. Salinger) who had published one very successful novel and then disappeared. Jamal Wallace (Rob Brown) is a bright teen whose test scores and basketball skills earn him a prestigious prep school scholarship. William and Jamal meet, and William becomes a secret friend and mentor to Jamal. Jamal is accused by one of his professors, Robert Crawford (F. Murray Abraham), of plagiarism when it is discovered that in one of his essays he has borrowed the title and first paragraph of one of
  5. I recently heard a Performance Today replay of little Anna Lee at the Aspen Music Festival, and it reminded me of this discussion. Pretty amazing kid. This is the only link that I could find, and unfortunately the "Hear the Interview, Performance" button isn't working on my machine, but maybe it will work for others: J Speaking of Performance Today, have you ever listened to Bruce Adolphe's Piano Puzzler challenges? The November 8th challenge was the first one I had heard where I got both the tune and the composer. Fun stuff: http://
  6. Does anyone have any idea of what the extent may have been of Rand's training and experience with art forms other than literature? Could she read music, for example? Did she ever play any instruments, if only something like a recorder during her early school days? When doing research for The Fountainhead did she ever sketch or play with clay to get a sense of what it was like to actually create forms and spaces? J
  7. I don't have time to add anything of much substance right now, or even to join the fizzling food fight (darn!), but I thought some of you might like Roberto Parada's work. A few of my favorites from his website: J
  8. Victor: No, I'm not striving for photorealism, and I don't see my work as photorealistic. But others sometimes do. If anything drives me toward a realitic style, it's the desire to capture color subtleties which I've never been able to achieve in looser styles. Btw, Victor, do you have a standard in mind for classifying what is or is not photorealistic? Recently I was at a video store with a friend, and I commented that I loved the sketchy style of some of Drew Struzan's movie posters. My friend thought that the images were composited photographs. I pointed to what I thought were obvious penc
  9. Thank you, Barbara, Brant, Rodney, Ellen and Gary. I'm happy that you've found something to enjoy in my work. E asked, He's a very successful business person from my neck of the woods. I'd been aware of his professional reputation for years, but hadn't had the opportunity to meet him until a few years ago. Despite the fact that he receives a lot of public attention, I found him to be very genuine and down to earth. Very idea-oriented. He radiated a sense of warmth and enthusiasm that made me want to try to capture it in paint. I'm very short on time right now, but at some point I'd like to ad
  10. I can see Victor making such a comment given his art (I think his "curmudgeon nihilist" remark isn't so far off the mark). I have no idea why you'd make it, the stuff you've shown here would fit in well at for instance. Shayne Well, if you can't think of any unsolicited advice that you might presume to e-mail me on how my work doesn't conform to proper Objectivist aesthetic principles (why you think my work is naturalism, why it expresses a horrible sense of life and muddled epistemology, why it reveals that I'm all sorts of bad things, etc.) then that's probably a good
  11. SOLOYahoo!, SOLOHQ, RoR and a variety of other mostly Yahoo-based groups that have popped up and faded away over the years. Thank you. J
  12. Thank you all for your comments. I deeply appreciate them. I've very rarely shared my work in Objectivist forums for a variety of reasons -- one of the primary ones being that Objectivist forums are populated with Objectivists, if you know what I mean. ;-) But I feel more at home on OL. Most people here seem to lack the hyper-zealot-Objecti-Nazi attitude toward art. Perhaps it's because there's a higher percentage of serious creative types here than elsewhere, and a deeper understanding and respect for the complexity of the creative process and the diversity of expressions and tastes. Anyway,
  13. Jonathan


    A few samples of my work: "Pensive" Acrylic and Colored Pencil on Art Board © 1999 Jonathan R. Smith "Resolve" Oil on Board © 2002 Jonathan R. Smith "Azaleas" Oil on Board © 2004 Jonathan R. Smith "GT" Oil on Canvas (detail of a portrait in progress) © 2006 Jonathan R. Smith
  14. Michael D writes: So, when the masses hear Michael D's views that anyone can become the next Einstein or Michelangelo, and they ask him why he hasn't done so, and he answers, "Just because a person is capable of great things doesn't mean that he owes it to himself to do them," will they be inspired to start working really hard at developing their abilities, or will they become hopeless and lazy, reciting Michael's words that just because one could doesn't mean that one ought to? J
  15. Shayne wrote: I don't know where you're getting that. No one is saying that anyone shouldn't try to achieve great things, or that effort is useless. My recognizing that Millais, at the age of 6, was able to draw better than most adult artists, and that he was good enough to be accepted at the Royal Academy at 11, and my recognition that there are focused adults who have yet to accomplish feats of similar greatness, and that perhaps they never will, even with 10 times the amount of time and effort, doesn't mean that it is impossible for them to achieve at a very high level, or even to eventual
  16. Angie, I wouldn't dismiss a person's accomplishments because he isn't famous, wealthy, socially adept or anything like that. If Shayne and Michael were living in poverty while quietly matching Edison's creativity in the privacy of their attics during their spare time, I'd respect their achievements. Profoundly. Just to be clear, I'm really not trying to piss on Shayne and Michael or their accomplishments. Without knowing anything about them other than what I've read here, I'd guess that they're probably very bright, creative and capable in their chosen vocations. For all I know, they could be
  17. Shayne wrote: OK. Perhaps I was wrong to assume that if you or Michael were great achievers in the way that we've been talking about on this thread -- if you were contemporary Mozarts, Einsteins, Millais or Rands -- then I probably would have heard of your accomplishments. If my assumption was wrong, then, hey, great, please tell us about your inventions, discoveries or creations. But if I was correct and you haven't reached the level of those thinkers and creators, I'm just asking why you haven't. I'm not trying to be insulting. It's just hard for me to imagine Objectivists who know that the
  18. Shayne and Michael Dickey, May I ask why, if you think that anyone can become world-class great, you haven't become great at anything? If you're upset that people who believe in innate differences such as talent are just looking for a way to excuse laziness, what excuse do you prefer to use to explain why you haven't achieved greatness? Why have talented individuals become world-class creators and achievers by the time they were half your age, yet you're still just non-great-Shayne and non-great-Michael? Are you saying that you chose to be lazy, that you knowingly chose not to fully develop yo
  19. Victor: What I was getting at is that a painting style, like Gary Kelley's or Tamara de Lempicka's, which is fairly realistic but has been influenced by cubism, can be just as much an intentional distortion as caricature, and the cubism-like distortion can be employed for the same reasons. Victor: As I said, I think you make a good case. And, actually, I think that there are many, many serious fans of visual art who would also agree with you. A good example: I've seen some of Daumier's caricatures displayed at the Minneapolis Institute of Arts. No one there seemed to believe that the works
  20. Thanks for your interest. I might post some scans of my work sometime. J
  21. Victor, I think you present a very good case, and I appreciate your seriousness and passion. The art of yours that I've seen is clearly not low-grade amusement park or mall kiosk stuff, where, as you say in your article, the artists work in nothing but generalized formulas and cliched distortions. More importantly to me, the thoughtfulness with which you seem to ponder the concept or theme of what you're bringing to a painting is complemented by a real understanding of serious art essentials - lighting, color modulation, brushwork, etc. I look at your work and recognize that you understand tec
  22. Victor, I work as an illustrator doing mostly 3D rendering and animation, but I also do some fine art painting, sculpting and photography. I prefer realistic styles, but I sometimes explore other modes if the subject calls for it. Btw, I've notice that a lot of the work that you've posted here doesn't include info about which media you've used. Are you working mostly in oil on canvas? J