Theo

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About Theo

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  • Full Name
    Theo van Oostrom
  • Description
    Visual Artist

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  • Website URL
    www.vanoostromfineart.com

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  • Gender
    Male
  • Location
    Melbourne, Australia
  • Interests
    Romantic realism in art

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  1. Add sculpture to that list, but remove architecture. Architecture, by its nature, is a design discipline. I understand Rand may have conceded that architecture was not art later in her life.
  2. So what is it that you need me to explain for you to understand? Are you expecting me to compile a list of paintings that qualify as objective art? Do you need me to analyse each one? Do you need me to show you examples of masterful stylisation? Do you need me to show you how recognisable subject can project meaning within a painting? I continue to point out how the nature of representational painting and abstract painting differ, but that clearly is not enough for you. None of the above is important to you when you want to hold onto a lie (like a priest), a lie that tries to make somethi
  3. I explained clearly that abstract art was aligned with decorative design - just because I left out some detail (surely I don't need to explain the design process here), does not make me a rationalist. I assume most people understand it at least in a basic way. Also, it is clear that representational painting is not decorative design in any way and assumed I didn't need to elaborate further, but I will if I have to. What part of what I wrote don't you understand? If a "creator" staples a tyre to a wall and calls it art, does not make it art. In fact, this subjectivist view would mak
  4. In art, like philosophy, you won't get the "proof" you are looking for. This is not a science experiment! Validating knowledge on art requires first understanding the nature of the subject we are talking about and to do this it is crucial to answering questions such as; Why does man create or even need art? Since art is uniquely man-made, how does it relate to man as a conceptual being? Why recreate (stylise) reality? etc. What we are dealing with here are very broad abstractions and I believe Ayn Rand asked and answered these brilliantly. To fully understand these concepts requires tracing th
  5. Of course Jonathan, you must hate it every time I mention anything about, stylisation, subject matter and theme, as these are the essential ingredients that make up objective art - and which are totally ABSENT in abstract art! The term abstract art is a joke! Abstract implies there is something conceptual about it. Abstract art cannot even be perceptual, it can only convey sensations, much like decorative design. Compare a Vermeer next to a Pollock painting, there is no way they can be conceptually grouped into the same category of fine art just because they are both contained within a frame -
  6. Most artists are self-taught if they recognise in themselves that they have strong visual/spacial capabilities and then develop them further. It also depends on the individual and how they prefer to learn. Some people need to go to Uni to learn but you definitely don't have to as there is a lot of resources on art available.
  7. When you click on the thumbnail, it goes to a larger image.
  8. How I want to stylise a bouquet of flowers eliminates the boredom, but if I only had flowers in the painting without any other element to give it context, that would be boring to me.
  9. Neither is right or wrong - it depends on the intentions of the artist. However, from a cognitive point of view, the question arises, does the artist wish to project his/her subject matter with clarity or not. You can decide for yourself whether clarity of thought is right or wrong - I know my opinion on this.
  10. Thanks, Brant. Your criticisms are valid. There is a difficult balance between having an online gallery and marketing ie images that end up outside of my website can be traced back. Also, Google search do like words (text), so deleting titles may affect this.
  11. I sense ugly cynicism from you - and nothing intelligent to contribute!
  12. Jonathan, to address your painfully concrete-bound tiles example. Of course, you can see tiles, because the shapes are tiled. But they don’t represent tiles stylistically. There is a massive difference between textured shapes, colours that vaguely resemble tiles and representing tiles in a room, showing how the light reflects off the surface, how the colours change within different areas of the room showing bounce light, simply showing only the essential details that makeup tiles and not just every single detail etc. Your tiles example is equivalent to saying that this is a praying
  13. Firstly, Jonathan, you need to distinguish clearly in your mind the difference between the chosen subject matter and how an artist chooses to represent it. This clarity is needed to know what makes up an artwork and how it can project any given theme. There are many aspects that makes-up an artwork - but the 2 primaries are subject and stylisation. When I said a painting must contain at less two related entities in order to project a theme, I was obviously referring to subject matter. I should have made it clear that attributes of entities also contribute to a theme. I never said an artwork wa
  14. Interestingly Peter, as a conceptual being, your first reaction was to try and find something concrete within the image to represent reality - try to give it some meaning.
  15. An emphatic NO, Jonathan. You have deliberately made them NOT look like tiles, and even if you did, that would not be enough. The image would still be on the most basic perceptual level. Any painted object must be given a context by adding at least one other recognisable entity that it can be related to, showing its significance of being included. The early Dutch painters included floor tiles in their artworks but these were not their primary choice of subject. To further illustrate my point here is a drawing by Glenn Keane Posted by Thorn. It demonstrates how relating entities and its at