As inanimate as it was gigantic A Fragment by John Ruskin blog.ayjay.org And among such false means largeness of scale in the dwelling-house was of course one of the easiest and most direct. All persons, however senseless or dull, could appreciate size: it required some exertion of intelligence to enter into the spirit of the quaint carving of the Gothic times, but none to perceive that one heap of stones was higher than another. And therefore, while in the execution and manner of work the Renaissance builders zealously vindicated for themselves the attribute of cold and superior learning, they appealed for such approbation as they needed from the multitude, to the lowest possible standard of taste; and while the older workman lavished his labor on the minute niche and narrow casement, on the doorways no higher than the head, and the contracted angles of the turreted chamber, the Renaissance builder spared such cost and toil in his detail, that he might spend it in bringing larger stones from a distance; and restricted himself to rustication and five orders, that he might load the ground with colossal piers, and raise an ambitious barrenness of architecture, as inanimate as it was gigantic, above the feasts and follies of the powerful or the rich. architecturesizescale
But what do you want to say? An Article by Ralph Ammer ralphammer.com Pablo Picasso famously said: “The world doesn’t make sense, so why should I paint pictures that do?” A sensible approach to something that can’t be explained is to express it. Rather than giving you explanations or “saying something”, most artists are concerned with what I like to call “room for interpretation”. They create platforms that trigger thoughts, feelings, emotions, and ideas. Instead of trying to explain the inexplicable artists express their view of it. They don’t want to tell you what to think, they invite you to respond. Making sense artemotion