Revisiting Realism for the Study of Indigenous Occupation in Awka

Fredrick Ebele Nwogem

Abstract


Painting goes beyond objective expression of the subject, which involves enlightening the viewer on the features, nature and any other factor that identify with realistic or naturalistic representation of the subject only. In this context, with reference to indigenous occupation in Awka, this study aims at extending the frontier of visual representation to that which expresses the subject beyond its literal or conventional interpretation. Hence the quest to transform the genre imagery from one built on superficial knowledge and understanding to that which is subliminal. For vivid and effective communication of the content, realistic style of painting is employed as the ideal medium for the expression because it poses no problem to the viewer’s intellectual and aesthetic appraisal of visual experience. Furthermore, its fusion with futuristic elements seeks expression in the curiousity and imaginative response of the viewer. Generally the contents of the imageries focus on the aim to trigger and configure the imaginations of the viewer to align with the ideas and principles the subject connotes or conveys. The relevant materials for the study are sourced from textbooks, journals, internet and studio experience. Related literatures are reviewed and the outcome of the results forms the basis for the execution of the study. Analysis of the imageries reveals a studio experience whereby the subject finds expression in the evolution of human intellect. However, this study tends to offer the spectator an insightful knowledge of indigenous occupation as a reality and as a concept. Recommendation are: that indigenous occupation should be studied and interpreted based on metaphysical values. It should be studied and interpreted with reference to colour language. Further futuristic traditional painting of the subject should aim at reflecting man’s quest for interplanetary colonization.

Full Text:

PDF

References


Arnason, H. H & Prather M.F (1998), History of Modern Art. New York, USA: Harry

N.Abrams.

Beanjean, D. (2005), Vincent Van Gogh: Life and work. Gmbh: Konemann.

Beckett, S.W. (1994), History of painting. London: Darling Kindersley.

Clark, K.(1976), The Romantic Rebellion. London: John Murray.

Eitner, L.(1992), An outline of 19th Century European painting. New tork: Harper

Collins.

Ember, C. R, Ember M, Perenorine P.N. (2002), Anthropology. New Jersey: Prentice

Hall.

Flaming, W. (1963), Arts and Ideas, Ontario: Holt, Kinehart and Winston.

Frazer, J.G (1996), The illustrated Golden Bough: A study in magic and Religion. Uk:

Labyrinth

Geldzahler, H. (1965), Amercan Painting in the twentieth century. New York:

Metropolitan Museum of Art.

Hockenbury, H & Hockenbury S.E (2003), Psychology (Third edition). New York:

Warth.

Hodin, J.P (1972), Modern Art and Modern Mind, Ohio: The press of western reserke

university.

Millet, J. F. (2015), The Winnower. Jean-Francois Millet.

https://www.nationalgallery.org.uk

Kalat, W. (1990), Introduction to Psychology. Oxford: Wardsworth Classics

Kleimer, F.S (2009), Gardener’s Art through the Ages: A global history (13th ed.)

Boston: Thomson Wardsworth.

Powell, A. (1973), The Origins of Western Art. London: Thames and Hudson.

Prendeiville, B. (2000), Realism in twentieth Century painting (1st ed.), Londoon:

Thames and Hudson.

Price, T.D, & Feimman G.M (2008), Images of the past. New York: Mc. Grow-Hill.

Rand, A. (1975), The Romantic Manifesto. Manitoba: Nelson, foster and Scott.

Sayre, A. (2004) A world of Art (Rev. 4th ed.). New Jersey: Pearson Prentice Hall.

Stookstad, D. (1999) Art History (Rev. ed. Vol.12). New York Abrams.


Refbacks

  • There are currently no refbacks.