All lines lead to the subject. Modern evolution of lines and chemistry of pigments, speaking to Content and Shape in Emil Agayev
The article was cyber attacked, here is what I squeaked through, or repaired!
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The mystery of art they say lies in viewer emotions. But there is a world among artists of skill, perceptions, technique. What does this pen do, this brush, pigment? Does it mix spectrally, or turn to muddy browns, these are chemicals, not light through a prism, this is education of fine art. Emil shows those who would enter Paris after the revolution, that study and self development, rules each and every labour. And We have come to hail Emil Agayev, a Baron of the guild!
Gorgeous use of red and coffee with cream sweets. Perhaps made of household chemicals! Note the maturity of each finished piece, here is linéd overlay worthy of the Yarl herself! We will try to parse. The artist is full of knowledge. He’s told me, taught me things already!
Reminiscent of Grecian urns, so silveréd of line, and chased with techniques lost to the Earth! He surely knows of these events, he’s a linguist! Can you hear the words of a lost language. Look closer! There is script!
Artists are naturally prophetic, when viewed through the lense of metaphysics. We have no words, nor thoughts on this process, other than homage to all artists, that We know thee!
Upon one tree ist so much knowledge, deep knowledge of the Earth or Ert’ as King Elia says when visiting the Revolucion in cyber, the gamespace. I cannot possibly read all the messages. I’ve actually spoken to His Grace, and wonder instead what solvents scrubbed onto house paint brown would look like! This is the very soul of modern art, pushing beyond classic and even modern commercial pigment, crossing over into experimentation alchemy!
After We were blocked on Facebook, I decided to work on his article, he has provided many samples, but to speak of the colorist I say he ist, I chose the above. We spoke via Messenger:
I wanted to say something like. What is color? The color or shape of an object, the feeling elicited. Feelings of heart and soul, is that the magic of color.
But do tell the publication, what is the mitten magic here, what is a “whatchimcallit” letter?
“This is a mail package from the Lehmbruck Sculptor’s Museum, which I took as a letter from him. His dramatic death, the trauma of the First World War, which he could not survive mentally. His sculptures for me are the highest plastic expressing pain and beauty. I put a leaf on the package and covered the tip with foil from the butter with which I had breakfast, finished drawing the heart with the aorta with blood vessels and edged it with red enamel.” – Baron Emil Agayev
Perhaps it is best, since Empire has ordered such a vigorous cyber attack, to let you just view!
See the effect of the novel pigment chemistry, an effect that ist also intentional in pigment and medium to trap a miracle in a few sparse lines of art. How warm doth thou feel child? Run to thy mother, she has your red mittens, how cold your fingers, put them on! What has happened? What particles, ye atheist, then, behold the above artwork. Imagine his soul free to touch any media, any chemical for pigment! Imagine it! Now find him and support him!
Notice how sparse the color, the red cross of our international medical aid symbolism. As is this one below. You can see the mitten. But can you feel there is a magic, when it is cold (frost on spiderwebs. Your scientific! What is the exact mechanism of that phenomenon? Behold. Mitten magic, and so many magical diagrams, they cannot be counted, nor their subjects conflated! He ist a ‘universemark’ (one stop shopping)!
He’s a pigment journey, included for brilliant entries full of primary fire, that are possible in the future, not just in our lucky present and even the extraordinary past of his ‘residency’ with Revolution University and Culture Club.
I said: No artist has such a third foot in the supernatural artifact of being human, having a soul. These artist expressed in odd materials, and forms, all kinds of art forms. I know you are busy, thanky you. I will tell them how you inherited the throne of materials and chemicals. And how these are but colors. Though they are much more.
Here is the Mitten magic I spoke of, and I do believe red is a part.
And this, he presented to the University.
More mitten miracles below!
Alright! Your thinking it! Why this guy, why not put him in the sketch artist’s column? Of course I see that. But I’m trying to define color here, in art. I see no better example of red than woollen mittens and their tiny Higgs boson (or whatever) events they cause with humans, it’s a red flannel or woolen thing!
The defining of a thing with color. Behold!
Two cardboard media. Notice the call of red on right. Upon receiving the full scientific report from the artist as to what we are looking at, in each case, the call may get lost, he was not hearing the voice of red as we thought, predicting as we would going through this article, and sitting there trying to define red.
I was you! Upon viewing this beauty on the University page, I said:
Winter strung like a harp across silken webs, Winter is opportunity for human hearts. The waif was so taken with the red mittens, he carried them in his book case when the weather was sunny. They shewn’ like sun.
To which he replied: “this glove comes from 1975, when I lost one of the pair in the winter. Then in 1996, I remembered it, standing at a bus stop in Russia and freezing. In this country, only the MITT warms. I made it a solar unit.”
So you see, he never mentions the winter’s web. This man is a linguist, with an important academic work in progress, he’s just too busy to answer our every little question dear reader. Here’s where my confused mind keeps going, pigment particles suspend in oil. So almost anything can be a pigment and anything a base; acrylic, plastic, anything that will accept and permanently show the color thereof at the time of painting.
Colors age, museums spend billions restoring off the goop. We didnt know what we were doing art tutelage says. We now know better, we suspend more, inside more, and present that suspension in new ways. No longer a wall, and oil paints, and candles, and that’s viewing. With Yarl Laura Owens you may walk inside the painting to find you are dressed very drably to be included, so your part in the painting must be spectator hahaha! YOUR part I say. King Elia had on bright orange shorts and shirt. I looked like Her Grace painted me in.
When we compare living great artists to masters of the past, sometimes we go a long way to reach that point. Abstract itself seems to have learned to speak an emotion of geometry, that speaks circles lines and triangles in its language.
With Emil, abstraction of these representations of Earth Magic, need not be discreet unto themselves as seen in the groundbreaking Kandinsky.
“On White ii” from 1929 is not white, but no white of our word is. These artists, these colorists see even White as yet another note, another rhyming word, or a sonnet form, upon which to extemporaneously create. Here Kandinsky, the over reviewed, and over thought by critics far and near, seeks to show a relationship and a conversation between objects of significance to the viewer. These could be debated. The game of life, the moves you make at the different stages of life, really significant stages. The bridges, the lines or vectors leading from that one move of one aspect of a life! How thought provoking. Here lines and spheres separate into words or symbols of their own. While in Emil, lines and spheres are kept, their geometry kept, but they are made to obey realism, supernatural as they are. This is new abstraction, upon the shoulders of greatness, that is significant and important.
And this below Emil submitted to the University some years ago.
Line and shape may have taken us beyond the first realms of true art colorism as impressionism, but this artist would love to have a crack at your internal color memories! “Green and vital” he said, transposed against thorns with no roses. But I had no idea what it was, life was hard at that moment and it was hard to share. I get that he likes to gauge an audience through what I may think. I said to him, I had this dream, in which all the people I know could be represented by small objects like beans, and thus, you could see them all simultaneously, crazy right? That’s what his thorns reminded me of, and indeed, full circle, those thorns there are the kind of people you run into in certain cities, where you are foriegn. That is the definition in emotions of forest green. The vital pines themselves defiant unto the cruel winter of life.
Here is “Pithia”, we have never discussed it, but it is germain to mastery of, and then shattering of line and shape, morgraphying them into mere elements of the supernatural hidden beauty of our human planet.
No need to mention how he elegantly shattered the box containing line and geometry in colorists, but that he also broke pigment rules, rules of trying to see magic, real magic!
Let’s have another look at Kandinsky. How have we added to the toolbox as my editor says of novelist techniques, of artist techniques? All of the elements light, solids, lines, and symbols, consumed his thoughts. But they predicted much to come after 1930.
Beginning a love affair with color and sectionality to employ such, he did several unremarkable pieces, modes later to be perfected by Renior and Monet. Warm emotional pastoral scenes, with young mademoiselles.
Like this very impressionistic synergy
or this pastoral genius
But even in these you could see the importance of color unto him. Color set aside from those around it, like luminous grapes. This becomes the manichaean tool in all the colorists to follow, well, most. More early work.
At some point, this extraordinary attention to color and its meaning, conflicted with normal rendering of normal subjects, so the village scene, once focused on the hypnotic voice of subject (inner warmth in Renoir) becan to listen to what shape and line, in various color, could speak on it’s on to subject, or models. Kandinsky in the end departed completly from realism and is famous for these studies of line circle, and color. Our Emil has used that tool well! Here is an important milestone, or transitional, from art school type renderings.
The use of color upon line and sphere are coming to take him by the 1920s, in one of the most startling transformations in our word. So we have the familiar. Here it is on revolutionary orange, way before he might have known. Lalalaaa!
And this is the Kandinsky style of art most well known to folks. Peruse him deeper and find he inspired artwork far afield of impressionism. He’s like a clearing house of modern art tools. One person!
This is somewhat the feelings engendered viewing Baron Emil. I cannot tell you enough of these stories to show him to you, you must go and purchase a small painting, and perhaps he will open up about hidden meanings, and deep truths therein.
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