Innovators in Painting

by Dianne L. Durante

This book looks at one question: How did artists progress from creating works such as cave paintings to works such as Lerolle's *The Organ Rehearsal (the two works on the cover of this book)? To find out, we focus on innovations that gave the artists who created them - and all artists who followed - greater power to make viewers stop, look, and think about sculptures.This jargon-free essay will give you a framework for looking at any period of Western painting, so that you won't be overwhelmed when you walk in the door of a museum. It'll also help you find more subjects, styles, and periods that intrigue you and appeal to you - more art that shows the world the way you think it can and ought to be. And what’s the point of looking at art, if not for moments like that?

140 pages, Paperback

Published April 26, 2020

About the author

At age 7, I won my first writing award: a three-foot-long fire truck with an ear-splitting siren. I've been addicted to writing ever since. As an independent researcher, freelance writer, lecturer, and tour guide, I indulge my curiosity and share my delight in art and history. For a up-to-date list of my books and essays, see http://diannedurantewriter.com/books-...

Reviews

[Mike Dial · Rating 5 out of 5]

As with all her books, lectures, and blogs, Dianne gives you information in this book that sets you free from her. She arms you with the concretes that help you focus your view on what is actually in a painting and then encourages you to go out, observe, and make your own evaluations. Because of Dianne, I now have a strongly held opinion about a painting at the National Gallery of Art in Washington, DC, that she perhaps has never seen. I never would have been able to focus my view enough to do so, had I not read her books. Now that I've read this latest book, I can't wait to go out with my refreshed eyes and see what else I can learn.

[James Charnley · Rating 5 out of 5]

I was taught that artists are compelled to create their works by a need to communicate. In this book, as well as in her companion piece about sculpture, Dianne has distilled the “how” of this argument as a straight forward, logical list of innovations aimed at enticing that communication.

I find her approach a refreshing counterpoint to the wealth of interpretive pieces rehashing the “why”. Art need not be shrouded in mystical pretension to be valued.

I look forward to her next piece.