DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0096
74
Representative art
are distinct in outline, although in dark colors. On the other hand,
Hodler, in his painting of a duel draws compelling attention to the
points of the swords which are painted in sharp outline while every-
thing else is the more indistinct the farther removed it is from
the point on which the interest of the artist centers.
Traits considered as permanent characteristics play a role even in
modern art. Until very recent times the complexion of man was
conceived as essentially permanent. At least the strong changes that
actually occur in different positions have not been painted until very
recent times. A person of fair complexion standing between a green
bush and a red brick wall has certainly a face green on one side
and red on the other, and if the sun shines on his forehead it may
be at times intensely yellow. Still we are, or at least were, not
accustomed to depict these eminently realistic traits. We rather con-
centrate our attention upon what is permanent in the individual com-
plexion as seen in ordinary diffuse daylight. We are accustomed to
see the accidental momentary lights weakened in favor of the per-
manent impression.
In primitive, symbolic representations these permanent traits appear
in the same way, sometimes strongly emphasized. It will be readily
seen that children’s drawings are essentially of the character here
described. They are not memory images, as Wundt claims, except
in so far as the symbols are remembered and reminders, but com-
positions of what to the child’s mind appears essential, perhaps also
as feasible. A person has two eyes which have their most charac-
teristic form in front view, a prominent nose which is most striking
in profile; hands with fingers which are best seen when the palms
are turned forward; feet the form of which is clear only in profile.
The body is essential and so is the clothing, hence the so-called
’ Rontgen pictures in which covered parts are drawn. These drawings
are a collection of symbols held together more or less satisfactorily
by a general outline, although single traits may be misplaced. The
same traits prevail commonly in primitive drawings. When Karl von
den Steinen had the South American Indians draw a white man, they
Representative art
are distinct in outline, although in dark colors. On the other hand,
Hodler, in his painting of a duel draws compelling attention to the
points of the swords which are painted in sharp outline while every-
thing else is the more indistinct the farther removed it is from
the point on which the interest of the artist centers.
Traits considered as permanent characteristics play a role even in
modern art. Until very recent times the complexion of man was
conceived as essentially permanent. At least the strong changes that
actually occur in different positions have not been painted until very
recent times. A person of fair complexion standing between a green
bush and a red brick wall has certainly a face green on one side
and red on the other, and if the sun shines on his forehead it may
be at times intensely yellow. Still we are, or at least were, not
accustomed to depict these eminently realistic traits. We rather con-
centrate our attention upon what is permanent in the individual com-
plexion as seen in ordinary diffuse daylight. We are accustomed to
see the accidental momentary lights weakened in favor of the per-
manent impression.
In primitive, symbolic representations these permanent traits appear
in the same way, sometimes strongly emphasized. It will be readily
seen that children’s drawings are essentially of the character here
described. They are not memory images, as Wundt claims, except
in so far as the symbols are remembered and reminders, but com-
positions of what to the child’s mind appears essential, perhaps also
as feasible. A person has two eyes which have their most charac-
teristic form in front view, a prominent nose which is most striking
in profile; hands with fingers which are best seen when the palms
are turned forward; feet the form of which is clear only in profile.
The body is essential and so is the clothing, hence the so-called
’ Rontgen pictures in which covered parts are drawn. These drawings
are a collection of symbols held together more or less satisfactorily
by a general outline, although single traits may be misplaced. The
same traits prevail commonly in primitive drawings. When Karl von
den Steinen had the South American Indians draw a white man, they