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Tuesday, May 28, 2013

Coromo In New york, parts 1639 - 1642



1639. The teacher suspects that his student is skeptical or even deeply critical of the professor’s theories, ideas that have embroiled the professor in controversies, and so he draws himself up to his full height and delivers a dissertation rather than a simple answer to a question. Such was Mr. Cronk’s response to Coromo. 




 1640. “God,” thought Coromo, “these art types sure do get involved in complicated arguments about what pictures are all about.” Here is Proctor Cronk’s answer to Coromo’s question, it is a little didactic, but it can’t be helped because Proctor Conk was a didactic man.

1641. The paintings we have on this wall of your restaurant are considered naïve, painting. Some refer to it as naïve, and others call it art brut. Others always refer to it as outsider art. The works in this style have certain characteristics in common. Since the artists have not been trained, their works lack aspects you find in most of the works of trained artists such as perspective for example.

1642. In a painting in which perspective is used things in the distance are smaller than things in the foreground: the farther away a thing is, the smaller it is depicted. Things in the foreground are larger and more detailed; things in the distance are less focused, bluer, and more vague. The naïve artists do not use any of these devices. Things in the distance remain large and just as detailed and chromatic as things close up.

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