Abstract vs. Realism: An Exploration of Personal Preferences in Oil Painting

Art is undoubtedly a subjective field, and the choice between abstract and realism oil painting is one that often divides viewers and artists alike. In this exploration, we will delve into the nuances of these two styles and discuss the author's personal journey in understanding their preference, relying on art history and personal experiences to guide us.

The Nature of Abstract and Realistic Art

It is a common misconception that abstract and realistic portray opposite or entirely different forms of art. Both styles heavily rely on abstract concepts and structures to achieve their aesthetic appeal and emotional expressions. Realism, far from being a completely literal representation, depends on abstraction to convey beauty and ideation. Abstract art, on the other hand, can present recognizable imagery, albeit simplified, distorted, or altered, or it can completely depart from any visible referents.

Personal Preference and Art Appreciation

As a student of art history, the author initially found it challenging to articulate a discernible taste in art. It seemed that every new experience was equally thrilling, and every artwork had its unique appeal. Over time, the author developed a deeper understanding and refined language to describe what truly resonated with them in a piece of art.

The preference for certain styles over others was not based on the mere presence or absence of representational imagery. Some "realistic" works were deeply appreciated, while others were entirely repulsive. Similarly, color alone was not enough to decide their preference; works like the grayscale grids of Picasso and Braque’s analytical cubism were profoundly impactful. Impressionism, especially the works of Pierre Renoir, was less appealing, but the paintings of artists like Mary Cassatt and mid-career Claude Monet found favor. The beauty of fine drawing could sometimes be equaled by the more childlike works of limners and itinerant painters.

The Role of Storytelling in Art

A recurring element in the author's taste was a disinterest in narrative. While they enjoyed works rich in emotive storytelling, the presence of other people’s stories and moral opinions detracted from their personal experience. Non-objective paintings also present a mixed bag for the author. Piet Mondrian’s red, blue, yellow, black, and white geometric compositions (Composition with Large Red Plane, Yellow, Black, Grey, and Blue) are deeply appreciated, while Helen Frankenthaler’s atmospheric hues are neither wholly embraced nor rejected.

The Importance of Structure in Art

The common thread that truly captured the author’s attention and held their interest was the element of structure. This aspect transcends time, culture, subject matter, and the quality of expression. The realization of this came when standing in front of Paul Cezanne’s "Still Life with Plaster Cupid" at the Courtauld Institute in London, where the sense of structure felt transcendent.

Conclusion: The Indissoluble Bond Between Realism and Abstraction

Focusing on the debate between realism and abstraction as a struggle or opposition is a mistake. These two artistic approaches are intrinsically linked, forming a tightly knit couple in art history. This connection is what makes them inseparable and not adversaries in art.