{"id":3492,"date":"2015-09-16T07:05:22","date_gmt":"2015-09-16T05:05:22","guid":{"rendered":"http:\/\/www.anthony-lombardi.com\/?p=3492"},"modified":"2019-10-21T11:41:40","modified_gmt":"2019-10-21T09:41:40","slug":"truth-value-in-painting","status":"publish","type":"post","link":"https:\/\/www.anthony-lombardi.com\/zh\/truth-value-in-painting\/","title":{"rendered":"Truth-Value in Painting"},"content":{"rendered":"
\"Elena\"<\/a>
Elena<\/figcaption><\/figure>\n

I read an interesting explanation of \u2018schemata\u2019 in a book titled \u2018Truth, Meaning, Experience\u2019 by Anil Gupta. I had been introduced to the concept of schema while teaching English as a second language. Schema can be defined as an organized pattern of thought or behavior that distinguishes categories of information and the relationships among them especially between common users – in this case language users.<\/p>\n

For example, I can teach the phrasal verb \u2018to pull over\u2019 to a English language student by describing the scene: I am driving fast, the police car appears behind me with flashing lights and siren. Therefore, I must stop the car as soon as possible and allow the police officer to question or advise me, hence I \u2018pull over\u2019.<\/p>\n

However, what the student will never be able to understand about this word is the association of tangible fear and panic that occurs as the situation unveils. This association between the word and the image of the scene is due to my culture and background of \u2018fearing the law\u2019. Not all cultures have the same \u2018schema\u2019 attached to the situation which the words \u2018pull over\u2019 tries to convey.<\/p>\n

In regards to painting, the idea of schema is attached to the inner mapping of the material world that I am trying to respond to with paint. Schema is phenotypical and is built into the core of my person as an individual. When I look out at the world and decide to paint something, what I am looking at has meaning and is understood in a highly personal context. This can be considered for me, as the artist, the \u2018content\u2019 of the painting.<\/p>\n

For instance, I am interested in painting the figure at the moment. When I stand in front of the model I have chosen to paint, the external features of the model are impressed in my inner self which responds to the \u2018schema\u2019 of that particular stimulus. Maybe the person\u2019s face incites an inner idea of beauty to me. Or maybe I am repulsed by the model\u2019s expression due to some bad experience from my past. This is what I mean when I talk about the inner map.<\/p>\n

Through the manual work of \u2018painting\u2019 the image, I am forced to render the \u2018schema\u2019 as well as the likeness of the model to a visible form. The \u2018schema\u2019 that I am attempting to present in the painting can hardly be understood with a photograph or even with words. It is the exquisite quality of the nature of painting that allows the richness of \u2018schema\u2019 to be experienced by other individuals observing the painting.[whohit]-Truth-Value_EN-[\/whohit]<\/p>\n","protected":false},"excerpt":{"rendered":"

I read an interesting explanation of \u2018schemata\u2019 in a book titled \u2018Truth, Meaning, Experience\u2019 by Anil Gupta. I had been introduced to the concept of schema while teaching English as a second language. 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