Here’s a summary of the text, with the requested elements marked:
Miles Mathis, in “A Defense of Subtlety,” argues against the Modernist rejection of subtlety in art. He posits that subtlety, like beauty, remains relevant and powerful, capable of conveying emotion and depth without direct confrontation or analysis. Mathis suggests that traditional artists like Leonardo da Vinci, Rembrandt, Chardin, Whistler, Puvis de Chavannes, and even an early Picasso, mastered subtlety through techniques such as chiaroscuro, muted tones, and nuanced subject matter.
He advocates for practical approaches to achieving subtlety in art, focusing on material choices and process. Mathis discusses the tactile experience of blending pastel with fingers, which creates subtle middle tones and a sculptural quality. He criticizes overly perfect or “clean” work as antiseptic, arguing that true emotion is messy and that over-refinement can strip a piece of its interest. Mathis highlights how Old Masters like Tintoretto and Venetian masters, along with tonalists like Whistler and Degas, effectively used greys and browns as unifying elements.
Mathis also emphasizes the role of paper color, preferring Fabriano Ingres or Ingres Antique in grey or light brown to serve as middle tones and suggest mood. He touches upon his drawings Monique Bleu and Girl with Balalaika as examples.
The use of natural window light is presented as crucial for revealing three-dimensionality and personality through shadows and edge, back, and three-quarter lighting, referencing his work Red-haired Girl. Mathis champions natural poses, drawing inspiration from Rodin’s philosophy of taking direction from “Nature.” He uses the composition of his drawing Waiting as an example of discovering a pose and emotional tension through natural observation rather than conscious orchestration.
Mathis asserts that artistic choices are driven by desire and emotion, not rational analysis, and that the “Id” should be free while the “Ego” is suppressed. He believes the time for analysis is after the work is done, and that forcing inspiration leads to bad work. He further argues for simple compositions that avoid clutter, citing Picasso’s Old Guitarist, Degas’s Woman Drying Herself, and even Van Gogh’s focused compositions as examples of how simplicity enhances emotional impact.
Finally, Mathis concludes by advocating for subtle colors that authentically express emotion, contrasting them with the garish colors used by Hollywood and Moderns. He draws parallels to artists like Millet and corot, who understood the power of restraint. The article ends with a call for donations to the SAVE THE ARTISTS FOUNDATION, mentioning his pseudonym Melisa Smith and the payment platform Paypal.