Portera Sánchez Alberto
An R Acad Nac Med (Madr). 2006;123(3):543-50; discussion 550-5.
It is desirable that a truthful aesthetic experience should be the consequence of a complete observation detached from all sorts of commercial, social, political or cultural ties. If during this period of admiration of a work of art a personal concentration is reached, the admirer perceives a liberation from all sorts of limiting ties and a rewarding artistic feeling. A similar type of mental freedom must be reached by the artist and prevail during the process of creation which must reach its greatest dimension in abstract paintings because not being illustrations they demand from the spectator a well developed habit to detect its esthetic values, difficult to perceive because they are in the abstract order. The dimensions such as perspective, symmetry, lights and shadows, usually integrated in figurative paintings to create well defined tridimensional spaces are not included in abstractions because this type of geometrical composition is not needed. In contemporary abstraction the design itself has lost its formal meaning and its protagonist role. It is frequently replaced by abrupt gestures as it is the case in the styles named "action painting" (Jackson Pollack) or "abstract expressionism" (Antonio Saura). Other abstract painters close to "minimalism" simply drop the colors on the canvas without any attempt to design but full of aesthetic energy and even single colors uniformly bathe the surface of the linen (Rothko). Other american artists of the sixties (Monis Louis) are also to be admired. They allow that the deposited and sliding colors themselves initiate and finish interesting artistic compositions. They become esential creative agents in the painting without being forced to be figurative nor to follow the creative will of the artist who, is simply acting as the first observer and only intervenes "a posteriori" accepting or rejecting the results. Only the colors and under the single influence of their sliding density create the shapes and artistic ensembles where there are still perceived their slow original movements. The observers of these abstract styles must initiate a process of perception without specific norms and wait until the engaging game of the colors generate emotional rewards in their minds such as amazement or interest that invite them to continue their tuning with the painting. If these artistic attraction is not evoked, the observer must be sadly satisfied with a simple ocular vision of the painting and again wait until the mental perception participates and the aesthetic reward is completed. What the "eyes of the mind" see is not a copy of the painting. A mental copy would not include the artistic meaning that the work of art contains which only emerges during the mental aesthetic encounter between the painting and the observer.
理想的情况是，真实的审美体验应该是完全脱离各种商业、社会、政治或文化联系的全面观察的结果。如果在欣赏一件艺术品的这段时间里达到了一种个人专注，欣赏者会感受到从各种限制联系中解放出来，并获得一种有益的艺术感受。艺术家也必须达到类似的精神自由状态，并在创作过程中占据主导，这种精神自由在抽象画中必须达到最大程度，因为抽象画不是插图，它们要求观众具备良好的习惯来察觉其审美价值，而这些审美价值难以察觉，因为它们处于抽象秩序之中。诸如透视、对称、光影等通常融入具象画以创造明确三维空间的元素，在抽象画中并不包含，因为这种几何构图并非必需。在当代抽象艺术中，设计本身已失去其形式意义和主角地位。它常常被突兀的笔触所取代，就像在“行动绘画”（杰克逊·波洛克）或“抽象表现主义”（安东尼奥·索拉）等风格中那样。其他接近“极简主义”的抽象画家只是把颜料滴落在画布上，没有任何设计的意图，但充满审美活力，甚至单一颜色均匀地覆盖亚麻布表面（罗斯科）。六十年代的其他美国艺术家（莫里斯·路易斯）也值得赞赏。他们让滴落和流淌的颜色本身引发并完成有趣的艺术构图。它们成为绘画中至关重要的创作元素，无需被迫具象化，也无需遵循艺术家的创作意志，艺术家仅仅充当第一观察者，只是在“事后”进行干预，接受或拒绝结果。只有颜色，在其流淌密度的单一影响下，创造出形状和艺术整体，在其中仍能感知到它们缓慢的原始运动。这些抽象风格的观察者必须开启一个没有特定规范的感知过程，等待颜色的迷人游戏在他们心中产生诸如惊叹或兴趣等情感回报，从而促使他们继续与画作协调。如果没有唤起这种艺术吸引力，观察者就只能无奈地满足于对画作的简单视觉观看，然后再次等待精神感知参与进来，审美回报得以完成。“心灵之眼”所看到的并非画作的复制品。一个精神复制品不会包含艺术品所蕴含的艺术意义，而这种意义只有在画作与观察者的精神审美相遇过程中才会浮现。
