Figure painting

Figure painting
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The list of cultural universals -- those features that recur in every human society, from
remote rainforest tribes to modern America -- is surprisingly short. There's language,
religion and a bunch of traits involving social structures, Figure painting such as the reliance on leaders.

Denis Dutton, a New Zealand philosopher, would like to add one more item to this list: art. As he observes in his provocative new book, The Art Instinct, people the world over are weirdly driven to create beautiful things. These aesthetic objects are utterly useless and Figure painting -- W.H. Auden pointed out that they make "nothing happen" -- and yet we enshrine them in climate-controlled museums and pay millions of dollars for a silkscreen of a soup can. Oil painting to began with a few horses on the walls of a French cave has blossomed into a human obsession.

The premise of Dutton's work is that this instinct for art isn't an accident. Instead, he argues that our desire for beauty is firmly grounded in evolution, a side effect of the struggle to survive and reproduce. In this sense, a cubist painting by Picasso is no more mysterious than the allure of a Playboy centerfold: Both are works of culture that attempt to sate a biological drive.

Dutton frames his argument as a scientific response to the idea that art is a "social construction," driven by the fads of society. He begins the book by describing a series of paintings by the Russian artists Vitaly Komar and Alexander Melamid, who in the early 1990s surveyed people in 10 countries on their preferences regarding color, subject matter and painterly style including Figure painting. These poll results were then distilled into a series of realist landscapes. The American painting, for instance, featured a foreground of sun-dappled grass, a lake, a few adorable children and the figure of George Washington. It's an absurd pastiche, the visual equivalent of combining all of America's favorite foods in the same dish. We might enjoy pizza and ice cream, but that doesn't mean we want pizza-flavored ice cream.

While Dutton appreciates the irony of Komar and Melamid, he's more intrigued by the striking similarity of their paintings. Although the 10 national landscapes oil painting differed in their details -- the Russians wanted a brown bear, while the Kenyans preferred a hippo -- the basic layout was identical. In each case, people craved a painting that featured a large body of blue water, some open grass, a human figure and a few animals as well as Figure painting .