Talk:Chaim Koppelman

Comments
This, I think, is a practical example of how & why his work came to have a more beautiful relation of truth & imagination, freedom & order, wildness & precision. The last quote I suggest moving from the "Critical Reception" section because it is useful & clarifying here. I'm concerned about the length of this article, but also think it is important for this section to be clear & have a practical example. If we add the poem above it should be later in the section, after he began printmaking. Looking forward to your comments.Trouver (talk) 19:08, 3 March 2013 (UTC)


 * In Aesthetic Realism classes and lessons, Koppelman learned that ethical problems are also artistic problems. He felt his work suffered from a fight between rigidity and flexibility. He could go after precision in the studio as penance for being careless at other times, wanting to get away from things.  As freedom and order, truth and imagination became more integrated in his life, his art became more imaginative. “I had always had a classical bent in my work,” he wrote. “But there was also a wildness in me that had not come into my work sufficiently or gracefully.” As a result of his study, Koppelman noted, “Tightness and abandon, the classical and the wild, even the conservative and the rebel seemed to be working better together” resulting in art that was “more imaginative, freer in concept”   Boldness of imagination and an unerring sense of detail were two qualities Koppelman’s work became noted for.


 * He also learned that art does not arise from suffering or depression, but rather from the hope to respect and honestly like the world by seeing opposites as one. This, according to Aesthetic Realism, is the deepest desire of every person, but it is opposed by the desire for contempt—the false notion that one adds to self by lessening the value of other things. Koppelman’s art is permeated with his understanding of this conflict. His works are often allegories which point to the discrepancy between, and the need to integrate, opposites such as pride and humility, generosity and selfishness, idealism and cynicism.  “That art could be a vehicle for understanding individual behavior seems always to have inspired Koppeman’s creative process” wrote John B. Ravenal of the Virginia Museum of Fine Arts, noting that his works “offer intimate rendering of closely observed detail, by which, paradoxically, they evoke universal truths”


 * Don't worry about the length...there is plenty longer....and much longer...... This looks good. Casliber (talk · contribs) 19:45, 3 March 2013 (UTC)

Do I make these changes? What is the correct procedure?Trouver (talk) 20:33, 3 March 2013 (UTC)
 * Yes you can make the changes - the page is on my watchlist so I will see them when it happens. Casliber (talk · contribs) 22:56, 3 March 2013 (UTC)

Your last comment conflicted with my adding the following, from an Aesthetic Realism lesson Koppelman had on June 2, 1949. I thought it might further clarify the learning process. Koppelman said his work seemed to be "isolated and rigid and nothing moving from one thing to the next."

Siegel. There is a tendency on your part to separate the deep perception of reality. And one of the things you have to go after is to feel that when you are feeling good you are just as deep as when you are feeling bad. And this I don't think you have felt yet. Take the fight between Delacroix and Ingres. Ingres went after outline and shape and something comparatively restrained, and Delacroix went after much motion and color. Now is that warfare in you?

Koppelman. Yes.

Siegel. It takes many forms. You won't be free about art until your motion, your ripple, your flow is seen as the same as your exactness, your rigidity, your grimness. I think you think you are deepest when you are suffering. Do you see what I mean?


 * Please let me know if I should add this as well.Trouver (talk) 23:43, 3 March 2013 (UTC)
 * Interesting - try it in a quotation box and attributed (otherwise it'd be a copyvio...) Casliber (talk · contribs) 07:30, 4 March 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Chaim Koppelman. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20130213135108/http://www.aestheticrealism.org/Ck-award.htm to http://www.aestheticrealism.org/Ck-award.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 12:25, 2 August 2017 (UTC)