Does art transport us? Where to?

Does art transport us? Where to?

An old Chinese legend tells of the painter Wu Daozi (680-c760), who learned to paint so vividly that he was finally able to step inside his work and vanish into the landscape. Magical though it sounds, this legend iterates the common intuition that artworks are more like portals than ordinary objects: they can transport us into other worlds. When I look at Pieter Bruegel’s The Hunters in the Snow (1565), I feel like I was there in the frost-bitten village, rather than the galleries of the Kunsthistorisches Museum in Vienna. 

Sometimes, artworks have such a magnetic pull that we forget the actual world around us and lose our sense of time and place, of other people – and sometimes even of ourselves. The French art critic Denis Diderot (1713-84)called such immersive experiences ‘art at its most magical’. Once a painting by Claude-Joseph Vernet (1714-89) pulled Diderot inside a pastoral river scene so completely and enjoyably that he compared the experience to a divine mode of existence:

Where am I at this moment? What is all this surrounding me? I don’t know, I can’t say. What’s lacking? Nothing. What do I want? Nothing.

A drawing sells for record £8.8m at auction

A drawing sells for record £8.8m at auction

A drawing of a bear’s head by Leonardo da Vinci sold for a record £8.8m ($12.1m) at a London auction.

Measuring just 7x7cm, Head of a Bear is more than 500 years old. The sale has surpassed the previous record for a Leonardo drawing, set by the Horse and Rider, which sold for £8.1m in 2001. The auction house did not reveal the identity of the buyers. However, it was sold to a single bid from a man and a woman.

The drawing was created using silverpoint on pale pink-beige paper and is among a number of the artist’s small-scale drawings of animals, which date back to the early 1480s. Silverpoint involves applying a silver stick to a specially prepared paper to leave marks and lines, requiring delicate touch and pressure.

Leonardo da Vinci, who was born in 1452 and died in 1519, is famous for both his art and inventions.

In 2017, a 500-year-old painting of Christ believed to have been painted by Leonardo sold in New York for a record $450m (£341m). Known as Salvator Mundi (Saviour of the World), the sale represented the highest auction price for any work of art.

The last drawing by Leonardo to come to auction was in 2001, also at Christie’s, when Horse and Rider sold for £8.14 million, the world-record price for a silverpoint work by the artist.

Why Art?

Why Art?

“For the past 25 years, I endured living under solitary confinement with the mental and emotional stress of facing death.”

On May 5 1993, in Pine Bluff Arkansas, Reams and his friend, Alford Goodwin, robbed a drive-through ATM with a single .32 pistol. Alford, in a panic state, shot and killed a victim.

The culprits were offered the same agreement: plead guilty and get a sentence of life without parole. Goodwin took the plea and was sentenced to life. In December of 1993, Reams was sentenced to death by lethal injection.

“For many years my mind was locked in the cell along with my body. I didn’t know by then what the sense of peace felt like in life. Eventually, I learned how to unlock my mind and spirit … and now I am a true testament of the human will to fight.”

His physical contact with other humans has been completely cut off over the past 25 years. Despite this hardship, Kenneth Reams has managed to become an artist, a poet, a writer, and the founder of the nonprofit organization Who Decides, Inc.

Reams’ poetry has been published in several publications, he made the 2013 semi-final round of the National Amateur Poetry Competition and was second-place winner of the 2016 Lifeline Poetry Competition. He has spoken widely on the subject of solitary confinement and the death penalty at a number of universities and public forums. His artistic work has been exhibited in venues in London, California, Texas, Arkansas, Ohio, North Carolina, and New York. He has donated his art to support numerous organizations around the U.S such as Murder Victim’s Family for Reconciliation, the Heyman Center for The Humanities, and the National Association of Univer-sity Women — Queens Branch.

Sorrow of the Soul – 2018

Humming Bird – 2018

The value of Art

What can art do when civilization itself is lost?

Consider this

In December 1942, an art teacher was deported to Theresienstadt. Friedl Dicker-Brandeis trained at the Bauhaus. She filled her luggage allowance (only 50 kilos) not with clothes, but with art materials. Her choice to give of herself to others – to donate her time, her talents and her indomitable spirit – is rare quality, one that still has the power to captivate and inspire us 70 years later. Childless herself, she would become an art mother to the children of Theresienstadt, fierce and inspiring. 

Conditions in Theresienstadt were appalling, and even more so for children who had to first cope with the enormous trauma and life-changing upheaval that deportation wreaked upon their young lives. Realizing that art could be a therapeutic tool to help children to deal with their feelings of loss, sorrow, fear, and uncertainty, Friedl set about teaching over 600 children with enormous enthusiasm and energy. Her art classes gave the children a momentary escape if only  in their imaginations. She had her students explore various mediums such as collage, watercolour painting, paper weaving, and drawing. But her lessons were not designed merely to teach her students technique. Rather, these different techniques became the means through which she taught her young students to dig below the facile to the deep well-spring of their feelings and emotions, and from that intimate place, to create. 

In a lecture she gave in the ghetto in 1943 to explain her teaching methods, she declared that her purpose was not to train the children as artists, but rather to “unlock and preserve for all the creative spirit as a source of energy to stimulate fantasy and imagination and strengthen children’s ability to judge, appreciate, observe, [and] endure” by helping children choose and elaborate their own forms.”

After the war, two suitcases Friedl had hidden, were found in the camp. They contained 4,500 pieces of art made by the children. They survived thanks to Dicker-Brandeis, who hid them in two pieces of baggage in Theresienstadt before her deportation to a death camp.One of Friedl’s few students who survived the Holocaust, Helga Kinsky (nee Pollak), recalls how under Friedl’s tutelage, they did not depict the misery and horror that surrounded them, but rather that Friedl “transported us to a different world…she painted flowers in windows, a view out of a window. She had a totally different approach…. She didn’t make us draw Terezin.” Another surviving student, Eva Dorian said of her beloved teacher: “I believe that what she wanted from us was not directly linked to drawing, but rather to the expression of different feelings, to the liberation from our fears…these were not normal lessons, but lessons in emancipated meditation”

By September 1942, the ghetto reached its peak of 53,004 prisoners, with Jews continuing to arrive until the war’s end. 

These pictures are full of flights of fancy.They belong to Prague’s Jewish Museum and are on display in the Pinkas Synagogue.

Drawings created by children during the drawing classes in the Terezín Ghetto organized between 1943 and 1944 by the painter and teacher Friedl Dicker-Brandeis (Jewish Museum in Prague).

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