It is difficult to know why one should be‍‍‍ moved by the expression of form

In looking at a fine drawing, say of a strong man, we seem to identify ourselves with it and feel a thrill of its strength in 33our own bodies, prompting us to set our teeth, stiffen our frame, and exclaim "That's fine."

Gearld Dean | Conte‍‍‍mporary Painter

Kelly MacD‍‍‍on‍‍‍ald |  Contemporary Painter

Creativity

SHOWCASING OTTAWA'S CREATIVE TALENT

Featured Piece of the Week

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Art probably owes more to form for its range of expression than to colour.

Many of the noblest things it is capable of conveying are expressed by form more directly than by anything else. And it is interesting to notice how some of the world's greatest artists have been very restricted in their use of colour, preferring to depend on form for their chief appeal. It is reported that Apelles only used three colours, black, red, and yellow, and Rembrandt used little else. Drawing, although the first, is also the last, thing the painter usually studies.‍‍‍

There is more in it that can be taught and that repays constant application and effort. Colour would seem to depend much more on a natural sense and to be less amenable to teaching.

It is not enough in artistic drawing to portray accurately and in cold blood the appearance of objects.

Tim Joe |  Contemporary Painter

John Moor |  Contemporary Painter

The form significance of which we speak is never found in a ‍‍‍mechanical reproduction like a photograph.

A hidden rhythm‍‍‍ that is not caught by the accurate, painstaking, but cold artist.

Jody Allen |  Contemporary Painter

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