For Václav J. Andrle´s art imagination is poetical. As American theorist Kearney says – imagination ,,must give expression to its poetical potential...” Andrle sees in the play metaphor the general rediscovery of the poiesis. Andrle as Franz Kafka may have been deeply conflicted, harboring contradictory intentions or wishes, in which a need for communication vied with an anxious perfectionism. The imagination of Andrle´s art operates in the formation of the hypotheses of fiction. In relation to art of master Andrle we respect Kant´s doctrine of the Transcendental Synthesis of Imagination. We see the tension between the unconscious and the conscious, which differentiates the play of the primary process in art from the play of the primary process in dreams, as psychoanalytical theorist Norman O. Brown says in his book ,,Life against Death”.
Modernity´s intensified cultural concerns contering on ,,masterpieces” all belonging to a class referred to as ,,the high arts” , has forced aesthetics of Andrle into an unusual posture. The guiding idea is that Andrle thinks of the piece as if it were a psychological drama. Having emotional and other affective responses to a work of Andrle is a very important part of appreciating it. Now, if such responses are an important part of what is involved in appreciating a work in art, they must be open to assessment in terms of rationality, relevance, and so on. Andrle´s art can have cognitive value, no one can be required to find cognitive value in visual art.
Picture of Andrle can be profound in a way taht it could never be if it were simply the source of pleasure. Painting of Andrle is what we may call an ,,autographic” art form. No replica, no matter how accurate, can count as genuine instance of original. It disqualifies replicas from use as objects of serious aesthetic contemplation. Finally, an art work of Andrle presents an aesthetic object and as such it presents an occasion for an aesthetic experience. This aesthetic experience can be used as a principle of aesthetic explanation. The images of Andrle are exactly similar to those in nature. In nature dark, confused, incertain images have a greater power on the fancy. Andrle suggest the intimate connection between mind and body. Obscure dark things are in Andrle paintings sublime. We see many examples of sublime effects. Andrle rejects the ideals of an integrated life and a coherent subject. The doctrine of eternal recurrence (with Nietzsche) in Andrle´s paintings is also an attack on the ideals of an integrated self. He likes pluralism of styles and images and emotions.
Picturesque principles triumphed after a series of challenges was mounted against the prevailing neoclassical canons and practices in Andrle´s paintings. Malcolm Andrews sees picturesque as ,,interregnum between classic and romantic art” . Andrle´s art transcend picturesque literary conventions by providing a reflective response to scenery. ,,Picture is essentially a symbol...” says American theorist Susanne Langer. Langer´s concept of symbol in art is intended to supplement the positivist understanding of a symbolism in such a way a facilitate talking about ,,poetic meaning” in non-reductive terms. According to Langer we see many symbols in pictures of Andrle. His art always creates the symbol of a feeling, feeling itself. Andrle emphasizes the decisive moment for events. Many of Andrle´s paintings emphasize the light, for ex. sunlight of landscapes, many works typically emphasize visual textures – in Lettrism. We support the relativity of vision in Andrle´s art.
Sociolog, etnolog a výtvarník
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