The philosophies of beauty or idiom that challenge us, the profane, are hardly ever declared by artists. It has not always been like that but it is a universal element of the present and of many centuries that came to pass. The cause comes somewhat from the fact that artists are often reserved people and who would feel uncomfortable making use of majestic words like…beautiful. They would deem as evidence of pedantry to speak about the expression of their approach and other such trivialities. For them these things are self revealing and inadequate for additional comments. We have no chance to understand Art if we do not understand the purpose it was destined for… To enter this mystery, I think we must give appeal to our experience. It is true…we are not artists, we have never tried to create a painting and we do not intend to. But we happen to confront ourselves with troubles that often bother the painters or sculptors. I even incline to say it would be hard finding someone who has no definition, no matter how reserved, over such sort of troubles. Anyone who has tried at least once assembling a flower bouquet, combining and amalgamating the colors, taking from here to place there, has experienced the sensation of balancing forms and colors without encountering the right wards to explain what kind of harmony one has it in mind to apprehend. One simply feels that a red mark “here” can change the whole aspect, that this blue, beautiful to look upon, does not “go” with the rest and all the sudden you feel like a green branch makes everything look as one “had in mind”. We might assume that these effects do not justify much attention, that people who give proof of deep carefulness towards flowers, cloths or fare are enthusiasts. But what in normal standards is understand as bad habits, and why regularly repressed and hidden, it becomes essential in Art. When it comes to matching different structures or disposing colors, the artist must be an enthusiast, or better said, difficult to the extreme. He can distinguish shades of darkness or quality that most of us only perceive with grate difficulty, the artists task infinitely more complex. On his canvas there may be hundreds oh shades and formations that he must assemble in creating what he “had in mind”. These are distressing tribulations upon which an artist will ponder sleepless nights; so he can stay in front of the easel days to come struggling to put a touch of color here or there just to remove it in the end, while other people could not tell apart any changes. But once the resolution found, we experience the artist’s creation as flawless…an illustration of excellence in our world of limitations. It is fascinating to gaze upon an artist struggling in search of perfect stability. But if it was to ask of purpose in his doings, he may not be able to tell us why. He does not pursue well established convention other than sensing his own whim. Truthfully, it is impossible to ascertain such rules for the reason that it cannot be told ahead what trail of intentions the artist has. And since standards of rating the perfection in a work of art do not subsist, it is essentially impossible to pronounce how we identify a masterwork. What does not imply that a composition can be rated at the same standard or that it cannot be discussed regarding matters of taste. Discussions such as have the list bit value of trailing us to look more carefully upon paintings; as longer meditating takes place easier it will be to discover thing that might have escaped the ignorant eye. The old saying of how one cannot dispute tastes and colors may be true but on the other hand taste may be guided to perfection. Great artists offered the best through their art; they suffered for it, shaped it with blood; at least we could offer is understanding over what they proposed. In art one constantly gains knowledge and learns new things. Great art creations seem different time and time again being as inexhaustible and unforeseeable as the human being. It is a passionate world with its own eccentric commandments and ventures. For truly tasting a work of art it is crucial to approach it with an opened mind ready to acknowledge the smallest allusion and respond to the most concealed harmony; but most of all with the fortitude unshackled from grand words and stereotype idioms. In the end it is preferable not knowing about art rather than having a pseudo culture that is aiming towards snobbish.

I would rather not be counted than be condemned in such an uncritical way.