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    2 Essay - ART IN NEWPORT ~ John Wilson

    "Art can never exist without naked beauty displayed" | William Blake

    "The body always expresses the spirit whose envelope it is. And for him who can see, the nude offers the richest meaning" | Auguste Rodin

    "I was trained as a painter. I'm very familiar with the nude body, masculine and feminine. I do, I suppose have a soapbox position, and I want to be certain that the human body is in the center of the frame." | Peter Greenaway, Film- maker.

    The genre of the nude is perhaps surprisingly well represented in the Newport Museum and Art Gallery collections from academic studies to modernist departures, and provides a useful point of departure for exploring the history of art and art education.

    The life class was the mainstay of British art education. The importance of the life room at Newport college of art - from the 1920s to the 1970s - is highlighted in i nterviews with prominent Newport Art College staff Stanley Lewis and Anthony Stevens ( - interview transcripts are available in Art and Society in Newport: Documenting the Twentieth Century. Newport Museum and Art Gallery, 2000; see The Art and Society in Newport Series ). Here are some of the initial thoughts for this exhibition:

    • We may note that Stanley Lewis received an extra twelve-month's scholarship at the Royal College of Art in the 1930s when his diploma work, a life study, was adjudicated by Augustus John. Then in 1937 Stanley stole the show when his full length figure study The Welsh Molecatcher (and study here ) was awarded painting of the year at the Royal Academy Summer Show. - We may also note that Stanley Lewis acknowledged the mentorship of the Head of Pedagogy at the Royal College of Art, Frederick Charles Richards, likewise a product of the Newport College of Art.

    • The controversy over the purchase and public display of Sir Gerald Festus Kelly's Nude Study in the 1940s & 50s focussed press and public attention on the Art Gallery Committee's collecting policy, and proved a cause celebre that brought 20,000 people streaming into the Newport Museum and Art Gallery.

    • Thomas Rathmell's The Picture Wall (1977) is a freshly painted and informal study of the nude in the artist's studio; and represents the artist's reflection on the practice of life-painting ( - with a reference to the history of art in the series of figure studies hung on the wall, including a seated male nude to complement the main seated female figure). - Through the 1960's & '70's Newport College of Art enjoyed an enviable British reputation, wth Thomas Rathmell at the helm as Head of the School of Painting and an academic rigour centred in the life-room that fed a stream of students to the Royal College of Art. - A healthy plurality of practices was achieved under the Headship of Anthony Stevens during the art college boom years of the 1970's; and l ess well known is the way in which disciplinary departures at Newport College of Art such as sculpture, photography and performance owed much to this academic grounding, exploring the materiality of the body in space. - Thereafter the life room fell out of fashion; although there are recent signs of its revival in British art colleges.

    Hence Sir Gerald Festus Kelly's D.D. V (a) (Nude Study) and Thomas Rathmell's The Picture Wall - both "artist's art" in their informal studies of the nude in the artist's studio - have provided a useful point of departure for our exploration of the genre of the nude and the history of art and art education in the permanent collections of the Newport Museum and Art Gallery.

    Framing the nude: Academy, avant garde, Internet

    THE ART OF THE NUDE exhibition explores the artistic genre of the nude in the permanent collections of the Newport Museum and Art Gallery, and was on public display July - September 2008.

    The exhibition made for sensationalist headlines in the UK daily press when it opened in July 2007 as a result of the "Newport Nude" controversy that continues to surround Royal Academy President Sir Gerald Festus Kelly's 1924 study of a nude model in the artist's studio:

    for the extensive press coverage see news archive

    listen to BBC Radio Wales The Newport Nude. which probes the story behind the sensationalist headlines.

    The genre of the nude provides a fascinating thread through the history of art, and we may reflect upon:

    • art education: the study of the nude formed the basis of the post-Renaissance academic tradition of "Western Art";
    • the modern artist: whilst the departures of modernism and the avant garde likewise saw a persistence of the nude as a vital genre for the artist's exploration.
    • the nude on the screen: Whither the nude in today's world of CGI and the Internet?

    Collecting the Nude: Newport Museum and Art Gallery

    A review of the Newport Museum and Art Gallery collections highlights the nude as a lively artistic genre and in our final selection we ended up with a large-scale exhibition of 85 works comprising 28 drawings, 12 prints, 39 paintings and 6 works of sculpture.

    Our selection brings together a diverse body of works with a lively conception of the subject of the nude, and includes the following prominent artists:

    Au guste Rodin, Henry Gaudier-Brzeska, William Blake, Sir Edward J. Poynter, Sir Gerald Kelly, Sir William Russell Flint R.A, Peter Blake, Allen Jones, Sir William Goscombe John R.A. Ceri Richards, Merlyn Evans, Thomas Rathmell, Harry Holland, Angelica Kauffman R.A, Dame Laura Knight R.A. Elinor Bellingham-Smith and Gerda Roper.

    We may reflect upon:

    • the central place of the nude in the history of art
    • the nude as a highly productive genre for the artist's exploration
    • the sometimes controversial role of the nude as a mediator of aesthetic taste and cultural mores across the generations.
    Viewing the Nude: Revisions in Art History and Art Education

    The nude occupies a central place in the history of art and has persisted as an absorbing subject for the artist from the Classical to the Renaissance, Modernist and Post-Modernist art worlds.

    In recent decades, revisionist art historical studies have unmasked and re-appraised the nude as a genre of art - critically, raising issues of visual representation, gender and social power; and positively, re-connecting with a history of artistic innovation through this abiding genre of the art school and the artist's studio.

    In recent years the nude and the life-class have experienced something of a revival in British art colleges, notwithstanding the post-60's “Crisis of British Art”, radical art politics and a rejection of the life-room. | Read more: Links - the nude in art history and culture.

    Framing the nude as art: Sir Gerald Festus Kelly's nude study THE NEWPORT NUDE | BBC Radion Wales

    We may note the sometimes controversial role of the nude as a mediator of aesthetic taste and cultural mores across the generations. The nude has been a constantly negotiated category of "art" and "taste" occasioning its periodic cause celebre of controversy, with a tendency for yesteryear's provocation to pass into silence as today's passée.

    The study of the nude provided the mainstay of the academic practice of art, a central preoccupation of art school training and the professional artist's studio. Whilst the Academy regulated the nude as a category of "art", this was of course not without its controversies over the years.

    Newport has been no exception, for the controversy surrounding "The Newport Nude" by leading Society portraitist and Royal Academy President Sir Gerald Festus Kelly in the 1940s & 50s made it the most infamous painting ever displayed in the Newport Museum and Art Gallery. With a petition launched for its removal as an affront to public morality and a headline in the Daily Mirror newspaper, Festus Kelly's feisty nude study caused a flood of some 20,000 people to view it when it was purchased from the Royal Academy Summer Show and exhibited at Newport Museum and Art Gallery in 1947. The aesthetic conception of the artist was simply in excess of acceptable taste for the Newport public. The case of Festus Kelly's nude study and its reception in Newport highlights the fact that public reception is the critical agent in the manufacturing of controversy. / Read more: THE NUDE | Case study: Sir Gerald Festus Kelly, D.D. V (a) (Nude Study) (1924 ).

    Regulating the Nude: From the Academy to the Internet

    As we approach today's hypermedia universe of the Internet, technology pushes the boundaries of culture and taste as ever. Traditionally regulated by the art academy as an aesthetic category of "art", the nude has been under constant pressure with the evolution of modern communications technology and media from the advent of the age of photography, of film, and now the digital communications revolution and the Internet.

    The nude has an abiding presence across these modern communications media as successive generations explore and exploit the often uncertain boundaries of "art" and "commercial entertainment". Yesteryear the art academy provided a vital forum for framing the nude as "art" and negotiating its status as a signifier and arbiter of aesthetic taste. Browsing through the advertisements section of the annual Royal Academy Illustrated nowadays, one may well be surprised at the apparent cult of the nude (- during the period of the Festus Kelly Newport Nude controversy). Visual imagery of the nude is ubiquitous in today's world of commercial advertising, spectacular culture, and the new Pandoras box of the Internet in which w e arrive at the nude on the screen. In this new flow of imagery we encounter a new excess of both the spectacular and the quotidian, with a blurring of the lines of amateur-professional and private-public into a new cultural imaginary of the nude.

    An anthropologist might observe that the role of the world of "art" as arbiter of acceptable taste - the academy, the art critic, and the press - has now devolved in our digital world to that of content filtering software as we navigate today's screen-based information environment. S uch as for example the default settings for a Google image search (eg. Moderate SafeSearch is on ); whilst effective content filtering has provided a strong selling point for ISP's.

    Note: Digital literacy & safety online

    Explore "the art of the nude" online:

    • Search - Google: web: "the art of the nude". image: "the art of the nude"
    • Search -visualization tools- view the search options (screen, page, video, etc) for "the art of the nude" here (Viewzi broswer).
    • Specialist art library services - Bridgeman Art Library: "nude" | Visual Arts Data Service (VADS): "nude" (online database with over 100,000 images covering the visual arts, which are free for use in education)
    • Photos - search tags for "art nude" in flickr hive mind (and here )

    art_newport on flickr

    Social Media Packages by Combined Book Exhibit

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    Art history essay titles for social media


    010_00 / 28 July 2016

    IbraazPlatform 010. which marks our fifth year of research and publishing, will consider the following question: what can the regional politics of cultural production across North Africa and the Middle East tell us about the politics of global cultural production today? Underwriting this research platform, we will ask an all too pertinent question: what are the most urgent issues affecting cultural production and where do we go from here?

    Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance

    010_03 / 28 July 2016

    'Today, Tahrir Square stands as one of the most documented and mediatized events in the digital age. The very nature of the documentation of this movement is intrinsically problematic. Even though in theory data related to the 18 days exists online, in reality most of it has already vanished into the Internet's bottomless pit of information.' In this wide-ranging essay, Lara Baladi reflects upon the precarious nature of the internet, new media, and archiving in post-2011 Egypt.

    Fahrelnissa Zeid in the Mega-Museum Mega-museums and modern artists from the Middle East

    010_03 / 14 July 2016

    Sarah-Neel Smith examines the phenomenon of the 'mega-museum' with specific focus: through the artistic biography of Fahrelnissa Zeid (1901–1991), a painter and bi-lingual cosmopolite born in Turkey whose work appeared at the Sharjah and Istanbul biennials in 2015, and 'fit smoothly into an exhibition format.' She writes, 'The contemporary consensus seems to be that the painter's wide-ranging practice forged in twentieth century Istanbul, London, Amman and Paris, positions her as the quintessential 'global' artist.'

    Towards a Spatial Imaginary Walking Cabbages and Watermelons

    010_03 / 5 July 2016

    'Do creative acts, such as culture jamming, subversion, laughtivism, hacking, public art and performance have the power to produce meaningful change?' asks Heba Y. Amin, as she investigates the political impact of walking cabbages, watermelons, and a variety of fruits and vegetables in cities across the world.

    Return to the Former Middle East Ibraaz 5th Year Anniversary Editorial

    010_02 / 30 June 2016

    In his editorial to mark the fifth anniversary since the launch of Ibraaz. Editor-in-Chief Anthony Downey reflects upon recent cultural and socio-political developments within the Middle East and North Africa and how they have generated new and more overt challenges to cultural production across the region.

    The Turn المنعرج Socially Engaged Art Practices in Tunisia

    010_02 / 21 June 2016

    Co-authors Christine Bruckbauer and Patricia K. Triki examine institutions, public space and cultural policy in Tunisia, with the proposition that post-'Arab Spring' societies 'need a lobby; a union behind them,' and, above all, 'they need the recognition of their social relevance and the official acknowledgement [of] the creative potential of art.'

    Effective on the Ground and Invisible to the Global Art Market Participatory Art in the Middle East

    010_02 / 15 June 2016

    'The Middle East has a long tradition of communal and interactive art that goes beyond modern times. For centuries, participatory art was practiced by artists of all ranks.' In this essay, Pamela Karimi examines the wide-ranging effects of participatory art, with a focus on socially-democratizing happenings in Tehran.

    Beware of the Image APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency

    010_01 / 1 June 2016

    The image that fascinates Petra Serhal is a 'low-definition' photograph circulated by ISIS supporters on the Web in 2014. It shows an ISIS militant in uniform, holding in his right hand the head of a woman from the top of her hair while raising his left index finger. He has a large victorious smile on his bearded face. This essay is part of APEAL and Temporary. Art. Platform. present The 2016 Ras Masqa Artist Residency. exclusive to Ibraaz .

    Queer Chronopolitics Forests, Freaks and Performativity

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    In this essay, Göksu Kunak interprets ancient folklore within the myth of ritual, and examines its relationship to history and sites of historic relevance – real or imagined.

    Art, Philosophy, Art Philosophy: Essays on Realistic Art - Technology - Essays on Realistic Art History by Contemporary American Artist Howard David J


    Personal Opinion Essays on HISTORY, MYTH, MORALITY, & ART yesterday and today by the artist.

    ( These essays are never meant to offend, but to spur thought and democratic debate in a spirit of fun. )

    "Those who are enamored of practice without science are like a pilot who goes into a ship without rudder or compass and never has any certainty where he is going. Practice should always be based upon a sound knowledge of theory, of which perspective is the guide and gateway, and without it nothing can be done well in any kind of painting."


    V > Sensuality, Violence, Morality, and their relationships with the Arts in 21st century American Society

    Click on the topic that interests you or stay here to read them all.

    Howard David Johnson is a contemporary realistic visual artist and photographer with a background in

    the natural sciences and history. He works in a wide variety of realistic art media ranging from traditional

    oils, pastels and others to cutting edge digital media. He loves mixing media. His web site features

    many examples of his Realistic Art, including illustration, photography, experimentalism, and fine art

    Art and Technology: From the Camera to the Computer

    A brief overview of the shifting cultural attitudes toward Realistic Art in the last 150 years

    Essay #8 by Howard David Johnson

    The first decade of the 21 st Century has seen a grass-roots counter-revolution in the art world which has overthrown the stranglehold elitist proponents of Abstract expressionism gained on academia, the media and the art world at large in the early 20 th Century.

    Howard David Johnson (2012)

    "Painting, in art,the action of laying color on a surface, or the representation of objects by this means. Considered one of the fine arts"

    "Painting. noun. 1.) The act or employment of laying on colors or paints. 2.) The art of forming figures or objects in colors on canvas or any other surface, or the art of representing to the eye by means of figures and colors any object; the work of an illustrator or painter. 3.) A picture; a likeness or resemblance in shape or colors. 4.) Colors laid on. 5.) Delineation that raises a vivid image in the mind; as in word painting.

    Webster's Unabridged Dictionary of the English Language


    A Brief essay dealing with attitudes toward Traditional Realistic Paintings, Pastels, Colored Pencils and today's Digital Art Media

    Did you know the Greek word "Photography" means "Painting with Light"? Today with the advent of computers it truly lives up to it's name. Due to developments in Art and Technology, combined with a general lack of public education, I contend that a broader definition of painting is needed than that which is found in common usage.

    Snobbism in the arts is nothing new. Some people will tell you that oils are the only valid medium for realistic paintings. That Colored Pencil, Digital, and other Realistic Painting and Drawing Media are not valid for "real" art. Young artists, Don't let them bother you. Their forerunners used to condemn Pastels before they gained acceptance and called them "crayons" when Johann Alexander Thiele (1685-1752) invented them. Mercilessly disrespectful art critics of the time could not stop the Experimentalists no matter how viciously they attacked and derided them. "Crayon-painting" as it was called in England was practiced early on by persecuted pioneers in Switzerland and many other nations. What a debt we owe to these master artists who refused to knuckle under to the pressure of those short-sighted critics during those historic and experimental times. It took until 1870 with the founding of the "Societe` Des Pastellistes" in France that respect came at last to these heroic & immortal visual artists.

    In England the liberation of the Pastellists from slight regard and undeserved disrespect came with the first exhibition of "The Pastel Society" at the Grosvenor Gallery in 1880. Pastel Painters like Mary Cassat and others from America and other nations forever silenced the snobs with their masterworks and gained recognition at long last for Thiele's invention as a valid art medium. I am persuaded that history will repeat itself. Like Pastels, I believe these wonderful new colored pencils and even Digital Realistic Art Media will one day receive the recognition they deserve as powerful mediums of artistic expression just as pastel paintings did. What is your definition of art? Have you thought about it?

    Mine is: "anything that makes you feel or think."

    Consider dancing. it can be a little skip in the step or rise to the level of the incomparable Russian Ballet. Did you know that just the materials alone for a single oil painting cost up to a thousand dollars these days? Even paying the artist less than minimum wage no one but the super rich can afford them anymore. Something's got to give. Realistic paintings in oil have been highly prized for centuries and the appeal and following of realistic art is undiminished to this day. Oil paintings featuring Abstract Art and Realistic Art are generally the most treasured form of all the visual art media and with good reason. But snobbish art critics favoring abstract art have declared that realistic paintings, or illustrations are not art for a century. With so many representationalist paintings by so many immortal master artists hanging in the Louvre, the Hermitage, and the British Museum and others I think the disrespect for realistic illustrators that dominated the 20th century is academically ridiculous as well as vain and intolerant, insisting theirs is the only valid opinion. What is your definition of Art? I believe almost any form of human expression can be raised to the level of "high art" especially visual art and Realistic illustration.

    By my own definition of art, which is: "anything that makes you feel or think" most abstract paintings are not "real art" to me personally. because abstract paintings usually neither make me feel or think, usually focusing obsessively on technique and avoiding any coherent content. I usually draw a complete blank mentally and emotionally when I look at them. In 1979 the Houston Metropolitan Museum of Art displayed a triptych of 3 giant paintings they paid fifty thousand dollars for- three blank white canvasses entitled "untitled". Then there was "The incredible new artistic Genius" with an I.Q. of 62. Coco the chimpanzee with his gala New York art exhibition. an elaborate prank played on the Snobbish American Art critics about a generation ago by research scientists in the field of primatology. Imagine how upset they were when he created one of his "ingenious masterpieces" right before their eyes.

    ( My Source for this is the Time Life Science Library volume entitled "The Primates". )

    Art education has been almost completely removed from American Schools as a result of generations of this kind of fabulous nonsense contributing to America's cultural illiteracy crisis. Now, the works of Leonardo Da Vinci, Michaelangelo, and other notables are being removed from school libraries. After generations of this, most American college graduates today cannot name even one living visual artist, abstract or realistic.

    There is no way that mandating more math, requiring more reading, or scheduling more science will replace what we have lost as a culture.

    More Personal Opinion Essays - on History, Myth, and Art by the artist.

    "As a professional Illustrator I am called upon to illustrate Legends of History and Mythology, Fact and Fantasy, the Sacred and the Profane. In as much as I have endeavored to sort them out accordingly, it has become one of the more fascinating challenges I have ever faced."

    A brief essay by H. D. Johnson

    As a professional Illustrator I am called upon to illustrate Legends of History and Mythology, Fact and Fantasy, the Sacred and the Profane. In as much as I have endeavored to sort them out accordingly, it has become one of the more fascinating challenges I have ever faced. As I am ever mentioning, the advances of science are constantly giving us a clearer view of the past even causing Mythology to become History as in the case of the Trojan Wars, the legendary Helen of Troy, and the Trojan Horse. The archaeological excavations of Troy may prove the existence of the city of Troy and the Trojan War. They in no way make The Iliad a history book however, because of the un-provable spiritual and religious occurrencesin the narrative. This sorting out of myth and legend from history is no less difficult today because of their intertwining influences on one another.

    Consider as a more recent example of this problem, 20th century American President Theodore Roosevelt. He lives in history because of his heroic charge up San Juan hill with his legendary roughriders. When this story was printed in William Randolph Hearst's newspapers it catapulted him to fame and ushered him into the White House as a glorious American War Hero. Everyone has seen the paintings and statues of Teddy Roosevelt and his roughriders dressed in khaki, mounted on horseback and charging fearlessly forward waving their swords. In reality, it was a group of Heroic African American Buffalo Soldiers who took San Juan Hill in spite of their heavy casualties. They did not wear khaki. They were not mounted on horseback, but were foot soldiers in the same dark blue uniforms of the U.S. cavalry as worn during the Indian Wars. Roosevelt's group actually took a nearby Hill against light resistance but Hearst said that would not sell newspapers so he created an American Myth. So as we see, here is something taught to children in schools as history is just not true at all, but yet, this myth shaped the true history of the world in the 20th century and beyond.

    If Teddy Roosevelt had not been elected president, neither would his nephew, Franklin Delano Roosevelt, who provided very real and crucial leadership during the Great Depression and the Second World War. Neither would Theodore Roosevelt have built the Panama Canal or established the conservation of our natural resources. So here we see Modern Myth not only influencing, but creating History. In reality, I perceive Theodore Roosevelt was a much greater president than history gives him credit for. Although it is true his kindness created the "Teddy Bear", He really was also fit and trim, vigorous and active, and a very tough president in his foreign policies. He was instrumental in America's emergence as a world power. It is also true that he came from the upper upper class - old money in New York with a background of great wealth and limitless luxury and chose to be an outdoorsman, a cowboy, and soldier. When he was given office, he embraced the concept of being a good Shepherd. of seeking justiceforall Americans - for this he was called a "traitor to his class".

    Actually, he is the savior of his class. In my estimation, it is President Theodore Roosevelt who is most responsible for the end of the then imminent threat of communist revolution or takeover in America. Throughout the early 20th century Socialist Revolutions were sweeping across the globe. Conditions for the workers in America were appalling. Child Labor, dangerous working conditions, ungodly long hours, degradation, and shockingly low pay. When Karl Marx wrote his "Communist Manifesto" he never dreamed of an affluent MIDDLE class. A middle class that is comfortable and savoring, life, liberty, and the pursuit of happiness is not going to rise up in murderous anger and "Storm the Bastille". What Global Communism could not contend with was America's happy and prosperous middle class. Theodore Roosevelt practically invented America's affluent middle class and eliminated the threat of Communist revolution in America. Although he was well loved, he was also hated and caught tremendous heat from the wealthy elite for sharing a small portion of their wealth with the common man. He saved them from a Second American Revolution by customizing capitalism to a kinder, gentler form than the horrors of the late 19th century. Like General Winfield Scott, who won The American Civil War before it started, he defeated his foes with an idea. If the Robber Barons had had their way, their greed could well have caused America to fall to communism. Today, we have a new generation of robber barons but no Teddy to stand up for the little guys. I feel the true history about American President Theodore Roosevelt is more amazing than the myth, but they are interwoven and inseparable, without the one, we would not have the other. He was both a glorious and a tragic figure. As a leader and as a man I believe he is badly underestimated. It was only when his beloved son, nicknamed "Quinnykins" died fighting in World War One that he finally saw through all the myths and glamour to see the awful truth about war face on. He never got over his guilt for glorifying war to his son. We could all learn a lot from his experiences.

    War costs money. trillions of dollars. War takes human lives. millions of them! War makes children old, breaks parent's hearts, kills morale. War destroys cities, art treasures, civilization! The first world war alone cost thirty million lives and 4 trillion dollars when adjusted to the buying power of modern U.S. dollars. With the money at the time we could have built a three bedroom two bath house furnished with fine hardwood furniture on five acres of quality land for every family in The United States, Canada, Australia, England, Scotland, Wales, Ireland, France, Belgium, Germany and Russia. There would have been enough left to build and stock a first class library and a proper university in every town of 20,000 people or more. Out of the balance we could pay the salaries for life of 125,000 teachers and 125,000 nurses. The remaining balance could have bought 1919 Belgium and France and everything in them.

    I see History as an endless waltz. Three beats over and over. War, Peace, and Revolution. Three beats over and over in an endless cycle of death, destruction, and regeneration. An Endless Waltz. and those who do not learn the lessons of history are doomed to dance this deadly waltz and pay this Frightful price for War. As modern technology such as jet aircraft and thermonuclear missles make the world smaller & more dangerous everyday, tolerating each other's racial, social, & religious differences & living together in peace has now become key to the continued survival of mankind through the 21st century.

    H. D. Johnson worked as a scientific research consultant for the University of Texas at San Antonio through the 1970's under the guidance of top Texas Scientists illustrating reconstructions of Paleontology and Anthropology, oddly enough, he then worked under the guidance of the world's foremost Biblical Scholars for the Center for Judeo-Christian Studies. The two dramatically different experiences back to back caused him to wonder.

    W ith respect to its great contributions to society, I think it is important to make a case that science is really affecting society more like a religion now than a field of study or a resource base of useful information. Many everyday people do not understand it at all and accept ALL its teachings on faith. Science is supposed to be a tool and a path of study for the benefit of mankind and it is. I love Science and greatly appreciate it's benefits. I feel strongly that many scientists are heroes and deserve honorable mention and some truly deserve places of great honor in the hallowed halls of history. Breakthroughs in medical science are saving lives everyday in ways undreamed of just to name only one of so many valuable fields.

    Unfortunately some scientists have also been criminals or have brought things into the world we all know about that we would have been better off without such as thermonuclear weapons and pollution. I believe it has also become things it should never have become. I shall briefly try to explain what I have seen that has made me feel that science is really affecting society more like a religion now than a field of study.

    The major criticism of science with regards to The Bible has been that it requires a leap of faith to believe that GOD created the world, yet Science also has several leaps of faith of it's own. The Big Bang theory cannot be proven as world renowned cosmologist Steven Hawking has stated and, if it cannot be proven - believing in it - in Hawking's own words requires a "Leap of Faith" .

    Until a theory is proven in a lab or in the field, it is Philosophy, not Physics.

    EVOLUTION IS NOT A LAW OF SCIENCE.Darwin'sTheory of Evolutionwas proposed in 1859 and almost a hundred and fifty years later it has still never achieved the status of a Law of Science. This is because of the Missing Link. There is noproof of a link between man and ape, hence the term "The missing link". This blind faith in Evolution has been taught with religious dogmatism in the public schools for generations and is still merely a theory. The Theory of Evolution, not the Law of Evolution is a mere UNPROVEN hypothesis, which the dictionary defines as "amere assumption or guess or a proposition, or a group of proposals, offered as an explanation for the occurrence of some specified group of phenomena."

    Yet this "mere assumption or guess"is taught to children in public schools and young adults in colleges as if it HAD been proven beyond any doubt. It was once a Law of Science that the atom was the irreducible particle of matter. At Alamogordo, New Mexico in 1945 the atom was split and the atomic bomb explosion in the desert blasted that Law of Science out of existence.

    Now, if a Law of Science is so unreliable, I ask you, why is a mere theory like Evolution regarded so highly? Simple. It is about political control, not about truth.

    The prover proves what the thinker thinks and prejudice and political power seem more important than the truth or the consistent practice of the scientific method. If truth were important to them, they would use the scientific method when criticizing The Bible but they do not. The scientific method requires going to the source. Yet for these famous disparagements they use the King James version instead of the original Hebrew. Translated in 1611 by non-Christian King James of England for political reasons the K.J.V. is one of the Colossal monuments of English Prose. The King James Translation is not at all accurate enough to use as the sole source for the defense of the Biblical Text.

    Consider this example: One of the greatest conflicts between Science and the Bible is the teaching that the world was created in six solar days of 24 hours each. The word " yom " in the source, the original Hebrew text, which was translated as "Solar Day" had 56 other choices. Modern English has more than 60,000 words. Biblical Hebrew had 3,000. The average English vocabulary has 6,000. My favorite choice of the 56 other options:" an unimaginably long but complete period of time" harmonizes with science perfectly. Another choice is: "time itself". So as we can see, going to the source and using the Scientific Method brings very different results than not going to the source.

    Getting past this, the order in which life appeared was identical to the theory of evolution's claims in the Book of Genesis, leaving us to discuss the stars, the next main source of conflict between Science and the Bible. The Hebrew text says "a swaddling band around the Earth dissolved, revealing the stars. The Prover proves what the thinker thinks. Here's a fun thought - What if GOD is in control of evolution? What if it's his hobby? What if there is really no conflict between Science and Religion? The scientists cannot disprove the existence of GOD any more than they can prove the Big Bang happened.

    Albert Einstein saw no conflict between science and religion. Like Galileo, Newton and other immortal greats of science before him, Einstein believed in GOD.

    Therefore, I present to you this idea: Modern Scientific beliefs are based upon a leap of faith in the big bang theory. It has become a belief system based on faith and therefore another form of religion. Scientists, like priests can explain their beliefs but the everyday people accept it all on faith. Scientists and doctors are the priests of this new religion, getting angry and crying "heresy" when anyone respectfully disagrees with them. I once had one of my supervisors in the UT anthropology department explain to me for three hours on a research expedition in mathematical terms how something could have ALWAYS existed, needing no beginning point. When we agreed that the math was good he then made a COLOSSAL leap of faith, saying "This proves the Universe has always existed and there is no GOD." In one second I countered;" I could just as easily jump to the conclusion that this proves the existence of an eternal GOD." It is this "jumping to conclusions" or as Steven Hawking put it; "making leaps of faith." that infuses philosophy with their physics. Then there is the infusion of politics; a perfect example is

    The Myth of Carbon 14 dating:

    Educated peopleknow that carbon 14 dating is totally irrelevant to the theory of evolution. Scientists never state that carbon 14 dating offers proof for the theory of evolution. Ignorant evolutionists, however, believe carbon 14 dating proves the theory of evolution, and stubbornly make that claim based on faith in what they were told in our learning institutions. They were DELIBERATELY lied to to gain POLITICAL POWER. I will explain; Carbon 14 dating is ONLY reliable for five thousand years as even its creator himself admitted in 1972. Carbon 14 or Radiocarbon Dating was first devised in 1949 by Dr. Willard Libby. It is based on the rate of decay of carbon 14 or its "half-life" of 5730 years. This method offers reliable dates up to 5,000 years ago, but its results require correction since Dr. Libby's belief that the levels of carbon-14 in the atmosphere were identical through the ages has long since been disproved. Volcanoes and floods for example skew the results to the point where guesswork or leaps of faith are required even in dating organic material from historic times.Dr. Libby once expressed his shock when he found that radio carbon dates for human artifacts extended back only 5000 years and older dates were found to be unreliable. [W.F.Libby, `Radiocarbon Dating', (Chicago, 1952), pp. 4-9] [CRSQ, 1972, 9:3, p. 157]By this time tens of thousands of C-14 dates had been published from tests in laboratories around the world. The textbooks and curriculums have yet to be revised. Instead, a MYTH is being taught in our schools. There are exciting new methods but wild guesses about the amount of Carbon 14 in the atmosphere do not PROVE anything. Believers in GOD are called foolish and ignorant on the political strength of this deliberate lie that Carbon 14 dating proves evolution.

    The gross disrespect and intolerance I have seen of certain members of the scientific and academic communities and their disciples toward anyone who disagrees with them is just as arrogant and abusive as racial, sexual, religious, or any other kind of prejudice.

    Here's a great example: Around 1910 in educated circles it was considered a mark of ignorance to believe the Biblical record. There was little scientific evidence available then to support the Bible's claims and academic circles decided that was the end of the matter and as the decades moved on, the scientific and academic communities stubbornly ignored tidal waves of new SCIENTIFIC evidence. One excellent example is in what the Bible says about Abraham. In the early 20th century experts in the field of archaeology insisted that no civilization even existed in UR of the Chaldeans when the Bible records that Abraham lived there. On the basis that no evidence was currently available they declared Abraham a mythical character.

    20th century evidence however has proven beyond any question the existence of an advanced civilization in UR of the Chaldeans during the 21st and 20th centuries B.C.-That was Abraham's day! Abraham's historicity is also confirmed by ancient inscriptions that bear the names of almost very town mentioned in Ch. 12-14 of Genesis and one even has his father's name. Archeological discoveries also show these towns were in existence until about 2,000 B.C.- but not later!

    No longer can the Bible's critics get away with accusing us of being naive or foolish today when we believe what the Bible says about Abraham like they used to in the 20th century.

    This is critical to the belief systems of the world's great monotheistic religions Islam, Judaism and Christianity who all claim ascendancy from Abraham. Why isn't this commonly taught in schools? Many scientific professionals openly abuse the authority of their positions to push their personal beliefs and ignore the confirmed scientific data to hold on to political power. Other Biblical confirmations from modern Archaeology include: Date and manner of Jericho's fall, The exodus from Egypt, Major characters from the book of Daniel and many others. The SCIENTIFIC proof is all there waiting for you if you take the time to look it up.

    Certain scientists and academics like to act like they know everything about the origins of the Earth. They don't. Many of our long taught ideas about planetary science have recently been proven completely wrong. Did you know that The Gas Giants on the outside of our solar system and the surface of the Planet Venus are DRASTICALLY different than what I was authoritatively taught about them as a boy in school?If they can't even tell us reliably how the solar system is today how can we rely on their ideas about its distant unobservable origins?Yet even in the face of constantly changing SCIENTIFIC evidence most scientists are prone to UTTER DOGMATISM about their belief system. Science is supposed to bethe sum of the best knowledge we have at the time - incomplete but always learning, always growing- but sometimes making serious mistakes. Why admit things were COMPLETELY wrong about planetary science within the solar system butNEVER MENTIONthe discovery of the unreliability of Carbon 14 dating or the discovery ofarchaeologicalevidence of Abraham being a historical figure? Simple. There is no danger to the foundation of the belief system of this new religion or it's social and political power base.

    Mankind's only hope for continued survival on this planet is to learn to tolerate each others differences and live in peace with one another and in harmony with the environment. We're all in the same boat.

    I do not believe that scientists should be exempt from this challenge to be tolerant, since they created the very things that could well destroy us, such as thermonuclear weapons & pollution.

    We all have a lot of work to do if we are to survive. I write this in defense of my faith and of the faiths of others which have been disparaged by these attacks on the sacred writings of the world's great religions. If we're going to have a better world we're going to need both better leaders and better citizens.

    I personally believe that any belief in a higher power that must be answered to makes us better citizens than if we believed that we are the ultimate life form in the Universe.

    A brief essay on 21st century legal boundaries, guidelines, and western art traditions by the artist

    " Our shared cultural heritage, great works of art, literature, music and drama, cinema, folk tales and fairy tales are all drawn upon again and again by the creators of new works. These works in the public domain are both a catalyst and a wellspring for creativity and innovation. Since the public domain is a treasure trove of information and resources to be used by future generations, many advocates are concerned that its stagnation through lawsuits will make it more and more difficult for future generations to find creative inspiration."

    " All art is ultimately some form of imitation, even if you are an expressionist painter imitating an abstract vision in your own mind. These new visual art creations of mine take their inspiration in part from the realistic paintings of the old masters just as The Lord of the Rings comes from The Ring of the Nibelung and European folklore and West Side Story came from Romeo and Juliet, which was in turn inspired by Antony and Cleopatra. Much as Rubens copied Titian, I copy Waterhouse and so on. Over the last 300 years, ideas about female beauty have drastically changed and this has caused many of the most wonderful paintings of the old masters to seem 'ugly' to youthful modern audiences. For example, in the days of Peter Paul Rubens, being forty to sixty pounds over-weight was considered not only attractive, but was a status symbol. Beauty is in the eye of the beholder and tastes have clearly changed. I feel many classic themes need to be redone to preserve interest and appeal for future generations. This has happened many times before as artists like Aesop, The Brothers Grimm and Walt Disney have appropriated, modified, and re-defined elements of our culture to preserve it for future generations. The legality of such use today depends on whether or not the source is protected by copyright law. You can draw or paint Shakespeare's fairies for example and publish them without permission but not more modern intellectual properties like characters from Star Wars or Mickey Mouse who holds the oldest copyright dating from 1928.

    Our shared cultural heritage, great works of art, literature, music and drama, cinema, folk tales and fairy tales are all drawn upon again and again by the creators of new works. These works in the public domain are both a catalyst and a wellspring for creativity and innovation. Even though all my Realistic Paintings are legally new works and protected under copyright law their inspiration sometimes comes in part from works in the public domain.

    The public domain is a space where intellectual property protection ( copyright ) does not apply. When copyrights and patents expire, innovations and creative works fall into the public domain. They may then be used by anyone without permission and without the payment of a licensing fee. My sources have been transformed so much in the creation of these new works of art that they would not violate an existing copyright even if they were so protected. Publicly owned national parks are also considered by many to be public domain lands. Because of the recent extensions of the terms of both copyrights and patents, and the privatization of lands and other resources owned by the Federal Government, little is now entering the public domain. Look for new litigation and another time extension when Disney Corporation's Mickey Mouse copyright is due to expire in 2023. Where would Walt Disney be without the Brothers Grimm, Hans Christian Anderson, or Victor Hugo? Where would Aaron Copeland have been without American folk music? Thomas Nast's Santa Claus without traditional images of Father Christmas? Picasso without African art? These are artists who made names for themselves and even fortunes through Public Domain appropriation, one and all.

    Some people are actually outraged that there are some intellectual properties that corporations do not own. They feel appropriation is only appropriate if a corporation does it. Corporations created by public domain appropriation, now are the most powerful force on Earth trying to put a stop to new things entering the public domain forever through lawsuits. The public domain is a space where intellectual property protection ( copyright ) does not apply. It was set up by our founding fathers, who felt creativity needed to be rewarded on a personal level for a time, and when copyrights and patents expired, innovations and creative works would fall into the public domain.

    Since the public domain is a treasure trove of information and resources to be used by future generations, many advocates are concerned that its stagnation will make it more and more difficult for future generations to find creative inspiration.This is least likely to hurt the motion picture companies who produce new works "in house" granting themselves permission, but the music industry which brings in artists and new songs from the outside is being hit very hard already. If a new song release resembles an old one, now there is litigation.Visual Art Tradition andetiquettesuggest the most influential pieced borrowed from the public domain should be mentioned at exhibits; these original new pieces Shown in my exhibits take their inspiration in part from the paintings of Waterhouse, Alma-Tadema, Moreau, Bouguereau, Leighton, Ingres, Moore, Parrish, Rackham and others. They showcase some of my favorite models. As a student of fine art, copying is a great way to learn and create fine art, but as a professional illustrator things are very different. Works done by artists out of personal motivation belong to the artist who created them, and they can sell licenses for divers forms of publication. The law is clear and simple regarding illustrations done for gainful employment. They are called "work-for-hire" under the law, and the rights to such worksenvisionedby the customer and specifically commissioned and paid for belong exclusively to the customer if it is a team project like a video game or motion picture and the artist must specifically ask permission to ever legally use their own work themselves. When the artist is the sole creator of the project as in book and magazine illustration for example, the artist retains the benefits of ownership unless they specifically sign them away.

    My art is divided into two distinct groups; personal work partially copying the old masters and professional illustration applying these lessons to create totally original works. I start more often with a specific written request. This is the exact OPPOSITE approach to creating a picture from copying something that's there.

    Research comes first. In the case of my illustration of the Spartan Warriors, there were no accurate sources in the public domain to copy correct Greek armor and weapons in combat poses from. Mostly I found images of effeminate men, wearing nothing but a robe over the shoulder and the wrong helmets. Finding history books at the library with the accurate helmets, shield designs, weapons, and armor was essential to get an accurate depiction of a Greek Hoplite. All the library had were stiff museum poses of anything, but I hit the research jackpot with some very simplistic flat line drawings of great authentic Greek shield designs.

    All the elements must be found, gathered and assembled to create the dramatic action scene the client wanted. Next comes the layout. This is where the mathematics and geometric design come into the creative process. My wife, Virginia took a picture of me nearly twenty years ago on a carpentry project with the heroic Jack Kirby like pose I was looking for mixed with the texture and feel of a Frank Frazetta or Norman Rockwell painting. Naturally, in these cases I go to great lengths to make sure that my work looks nothing whatsoever like it's various inspirations and sources except in flavor and spirit. Of course, the characteristic old master's painting feel to the background most of my illustrations have was requested, and the picture was to have the flavor of a Howard Pyle painting.

    With regards to use of mechanical aids to create art:Did you know the old masters often traced? Leonardo Da Vinci used "Camera Obscura" which is a lens and a mirror set at an angle with parchment over it to trace onto. Michelangelo used a similar technique. The use of Photography as a mechanical aid to oil paintings and other forms of realistic art came right away. This is not surprising since artists had been tracing from Camera Obscura for thousands of years. Famous Myths; Leonardo Da Vinci (1452- 1519 ) is often credited with the invention of Camera Obscura because he used it for his masterworks during the Renaissance and mentioned it in his notebooks, but this is simply not true. Similarly, Americans are credited with the camera, but it is also not true. Unlike the camera, the inventor and time of invention of Camera Obscura are unknown. Perhaps a crude form of it was known to the ancient Greeks, but there is no evidence for this. The mathematical precision and perfect anatomy of Greek art combined with their passionate love of science and mathematics is enough for many scholars. The earliest description of Camera Obscura occurs in the great optical treatise of the Islamic scientist Al-Hazen who died at Cairo, Egypt in A.D. 1098. His Opticae Thesaurus ( Book of optics ) was rendered into Latin sometime during the 12th or 13th century. Al- Hazen honestly declares that he himself did not discover it, so we know it had to have come earlier.Think that makes it too quick and easy? You'll find once you've finally got that outline done right you're a long, long, way from being finished in any medium. if these men who set the standard for realistic excellence used them, why shouldn't those who come after them be permitted? Simple, because this is one of the most carefully guarded "secrets of the old masters" and most people don't know very much about art history.

    When asked why I usually work from photos I like to re-tell Norman Rockwell's story about having to paint a chicken: He set it up on a stump in a barn and goes to painting. The chicken moves it's head. He moves it back. The chicken jumps down. He puts it back. He goes to paint. now the chicken decides to make a break for it. he chases it down clucking and screaming and puts it back. Now it knows he's going to have it for dinner and it goes completely berserk. The next day, he came in and set the chicken back, snapped it's picture,

    I have built up an enormous library of original 35 mm source photos for use in my realistic art. For decades I have been seeking out the most beautiful models and sometimes even their boyfriends and relatives, bringing them in for sessions into my photography studio. The law with regards to copy rights on analog photographs was simple - if you owned the negative you owned the rights. This new instant copyright without filing law is very nice for photographers and artists working with their own photos, but not so good for free-hand drawings from the imagination and other non-photographic based forms of drawing and painting like cartoons.

    This is the main reason I use my own photographs.

    Using a strategy employed by J. W. Waterhouse, my wistful and graceful female models cannot be underestimated in their contribution to the stunning beauty and the potential for lasting appeal of my work. I am always make sure to both overpay them for their time and also the rights. I always get a written contract with the exception of my dearest friends and closest family who are always making cameo appearances. The models get amenities and services including portraits, portfolio photo sessions, photographic reprints and enlargements, leather presentation cases, webmaster services, original art, and reprints of their appearances in my drawings and paintings as well as above scale cash payments at the time of the shoot.

    With regards to using copyrighted material as a reference- When you have to paint a wombat you can't fake it- you need a picture! The law understands this and automatically grants provision - within reasonable limits; when using copyrighted sources the source image must be so transformed in overall appearance in the translation as not to be what the law calls "confusingly similar".

    If it's newer than 1928 you can bet it's probably copyrighted - they had to renew exactly 26 years later in those days or it would pass into the public domain, so it might not be copyrighted if it wasn't a big moneymaker. Always be sure to check in these cases. If it's newer than 1999 under themillennialcopyright act the law says it is automatically copyrighted without even filing. However, this new law is very tricky in it's wording because you must have already have filed with the copyright office in advance if you ever need to take legal action. They say it is copyrighted, but you cannot sue if it is not registered with the United States Library of Congress Office of Copyright. Because of this "instant copyright without filing" clause, there is a serious danger of artists being made legally helpless and left open to being cheated out of their work.

    From an artist's standpoint, this is a huge improvement over the original 14 year copyright term. When properly interpreted and acted upon, by filing works with the United States Library of Congress Office of Copyright, these laws are GREAT for contemporary artists and their estates, who will hold rights for seventy years after the artist's death."

    The Constitutional Provision Respecting Copyright

    The Congress shall have power. To promote the progress of Science and the useful arts, by securing for limitedtimes to Authors and Inventors the exclusive right to their respective Writings and Discoveries.

    United States Constitution Article I Section 8

    ( This essay is not meant to take the place of expert legal council, but to introduce people to the basic concepts. )

    T he various galleries linked to by the thumbnail icons in his web show many examples of HDJ's Realistic Art, and are grouped by theme rather than media. There are also sample illustrations from his upcoming books on Celtic Myth and Legend and World Myth & Legend. Since boyhood he has passionately copied the old masters. To create his work, he usually starts with a thematic concept followed by a rough realistic pencil sketch, then followed by his photography, often traveling to find suitable scenes and locations and then working in his Photography studio with live models from his sketches. He then assembles a variety of elements which are realistic and original. As a boy he dedicated his life to art in 1960. From 1965- 1999 he used xeroxes and tracings to make his preliminary photo montages. This is patterned after the manner used by Maxfield Parrish and other 19th century notables. Beginning with a tracing, he then draws or paints from these complex original Computer Photo Montages. Many of these are on display on this web and slated for future completion in a variety of traditional realistic art media. As this happens, the finished work is substituted in the exhibit.

    H e has built up an enormous library of original source photos to use in his realistic art. Recently he shot hundreds of aerial photos of clouds at marvelous angles and perspectives and also looking down on the mighty mountains, rivers, and deserts of the American west while flying from Texas to Oregon and back for dynamic source material for realistic flying scenes in upcoming paintings, drawings, and pictures. For decades he has sought out the most beautiful models and brought them in for sessions in his photography studio. Using a strategy employed by J. W. Waterhouse, the old master H D J imitates most- see Helen of Troy ( a recognizable tribute ) and The Messenger ( in the spirit of Waterhouse ) both featuring Grace- his wistful and graceful models cannot be underestimated in their contribution to the stunning beauty and the potential for lasting appeal of his work. Their last names are withheld to protect them from stalkers & other internet predators.

    H is favorite medium for traditional realistic art is colored pencil because of the high speed and low expense, and people began expressing difficulty in telling his colored pencil drawing from photographs in the early 1980's. In the last 35 plus years he has also mastered Oils, Pastels, Acrylics, Watercolors, Inks, Scratchboard, Gouache, Photography, and most recently, the highly controversial digital media. As a commercial illustrator Johnson has not only used the computer to create art but has been involved in the development and marketing of computer imaging software for Adobe Photoshop. Working in a realistic style inspired by classic illustrators H D J is deeply rooted and grounded in the Greco-Roman artistic tradition, Feeling that especially with realistic art - that the human form is the ultimate arena for artistic expression. His lifelong dream came true when his Traditional Realistic Art was exhibited in the British Museum in London England in 1996. His mixed media has also been displayed in numerous other ones since such as the Metropolitan Museum of Art. Having achieved international acclaim as a traditional visual artist he discovered digital media in 1999. Because of his passion for realistic art and photography he elected to embrace it and joyfully be a part of this historic era in the visual arts as a 21st century realistic artist .

    C omputers have not diminished his love of working in traditional media. He loves to draw portraits from his own photographs as well as using them to create illustrations in various media. Click on 'The Messenger' above for more on H D J's other public domain sources & influences he uses to create his realistic art.

    S ince 1972 when he began his career as a scientific illustrator for the University of Texas he has earned his living illustrating all kinds of books, magazines, CD covers, and all sorts of games, greeting cards, calendars, portraits, murals and the like with his contemporary realistic art. H D J's Realistic Art has appeared in every major bookstore chain and fantasy gaming shop in The United States and has been used in educational texts and magazines all over the world. This site features realistic paintings & pictures for the twenty-first Century including some oil paintings, as well as lots of other exciting realistic art media such as colored pencil drawings, pastel paintings, acrylic paintings, gouache paintings, water color paintings, and pencil drawings, and also featuring studio, field, & aerial photography, digital painting and photo-montage and all these media mixed in an assortment of experimental combinations. Working in a wide variety of media to create his realistic art he offers his customers a host of payment and product options. He delivers the rights to these custom made copyright free realistic illustrations and old fashioned customer service when he does work-for-hire.