Six years ago, I started working on. 'The Facts of Art' uncovering stuff I wish someone had told me about...

...but no-one taught us 'The Facts of Art' and there is good reason - no one taught them!

Today, confused judgement surrounds the subject of art - a 'modern confusion' from which, it seems, no one manages to escape.

Three or four hundred years ago it was comparatively easy to understand and judge art but today we are lost in a creative melange of talent, technique, technology, and arguable criteria when it comes to judging art.

Well-meaning art critics, art historians, philosophers and artistic sleuths, passing on their asserted conclusions and opinions, can also serve to complicate our natural judgement, making objectivity even more difficult.

Reading this will offer you a better perspective and will help you understand the subject perhaps for the first time - how we got here, where we are now and where we are likely to be going in the future. You will feel more comfortable in your outlook and in your general comprehension of art.

The central message contained within these pages came as such a revelation… in fact, a 'shock' to me that I simply had to share it with you… and maybe the rest of the world!

The Facts of Art

by Doug Blanks

Back cover

Larger text (from back cover)

They say Picasso was burgled - and because he'd seen the faces of the culprits, the police asked him to do a sketch. The following day they arrested a donkey and a tin of sardines!

Well if this joke makes you laugh and you can explain why you are laughing – or if you can compare Michelangelo's David with a pile of bricks in The Tate Modern, without scratching your head, you may not need to read any further.

At some point, I wish someone had taught me 'The Facts of Art'. Instead, I was fed traditional claptrap aimed at justifying the "modern confusion" that surrounds art today.

This book should come as a revelation to anyone looking for answers; providing a fresh perspective and empowering them to truly understand the subject… maybe for the first time!

Index

Introduction -  M. I. Byrne

Prologue - one man, one life

Chapter 1 - 'ever been paid in drugs?

Chapter 2 – Simply bananas! 

Chapter 3 – shapers

Chapter 4 – the big question

Chapter 5 – Turner - Monet - Van Gogh – Picasso (in progress)

Chapter 6 - birth of a genre (in progress)

Chapter 7 - the measure of success (in progress)

Chapter 8 – the beauty of an equation (in progress)

Chapter 9 – think about this (in progress)

Chapter 10 - summary (in progress)

Part 2 - Tutorial (Click for more)

Chapter 11 – Supercharging your talent (in progress)

Chapter 12 – The right subject (in progress)

Chapter 13 – For love or money? (in progress)

Chapter 14 - Making a start (in progress)

Chapter 15 - Satisfaction – a closer look (in progress)

Chapter 16 - The art of seeing (in progress)

Chapter 17 - References (in progress)

Chapter 18 – Glazes and scumbles (in progress)

Introduction

     No one taught us 'The Facts of Art' and there is good reason - no one was qualified because no one taught them!

Even today, confused judgement surrounds the subject of art - a 'modern confusion' from which, it seems, no one manages to escape.

Three or four hundred years ago it was comparatively easy to understand and judge art but today we are lost in a creative melange of talent, technique, technology, and arguable criteria when it comes to judging art.

Well-meaning art critics, art historians, philosophers and artistic sleuths, who pass on their asserted conclusions and opinions, can also serve to complicate our natural judgement, making objectivity even more difficult.

Reading this book will offer you a better perspective and will help you understand the subject perhaps for the first time - how we got here, where we are now and where we are likely to be going in the future. You will feel more comfortable in your outlook and in your general comprehension of art.

The central message contained within these pages came as such a revelation… in fact, a 'shock' to me that I simply had to share it with you… and maybe the rest of the world!

In 2012, I'd not yet been put out to pasture but had reached an age where I could have been (66)

And, not having done anything creative in over half a century (since school days), I bought some oil paints whilst on holiday and discovered something that had lain dormant inside of me for all my working life.

Overnight, I found I could paint to a surprising standard without tuition.

Where had this come from? I had painted at school with horrible tempera blocks but there I was in 2012 suddenly painting in a way I never thought possible – and this newfound ability had shown up literally overnight. I couldn't have been more shocked if I'd woke up speaking Japanese! So how was this possible?

My curiosity abounded, what's going on here?

     During the following years, my dedicated efforts led me to uncover fundamental insights, and facts that remain largely unnoticed by the majority; facts never even sought or considered. And what fuelled the urgency to write a book was the realisation that, to my knowledge, none of these discoveries had previously been articulated in book form. Had someone else done so, I wouldn't have felt the need to put pen to paper... I would have bought the book!!!

Pooling together my notes, thoughts, and observations into an initial draft, I sought the opinion of a fellow writer and friend whose judgment I value highly.

Whilst he found the work interesting, technically sound, and enlightening, he urged me to reveal more about myself, my artistic upbringing, and the influences that led to my discoveries. "Readers like to connect with the person behind the words," he said.

As a result, the prologue that follows, delves into one or two of my life experiences and recollections, aiming to offer readers an insight into how I may have inadvertently acquired my artistic education from the 'university of life.'

In fact, I enjoyed recounting these experiences so much that the prologue turned out somewhat lengthier than intended. So, should this personal introduction, 'One man - one life'(click for more) not appeal, please feel free to skip forward to chapter 1.

Chapters 1 to 10 provide an unconventional and concise insight into the fundamental roots and history of art, as well as development curiosities, diverging from conventional teachings. It is definitely not simply a regurgitation of what has gone before.

This narrative draws substantially from original thought, offering a simplified interpretation of the art world, and one that cautions against over intellectualisation - that often clouds more than it clarifies.

Whilst reading this, you may also notice a distinct absence of academic rigour in my proposals.

Primarily, this is because I have little interest in proving each statement by cross referencing against existing claims and theories (it presents my personal take on the subject of art). Also, that many of my conclusions are diametrically opposed to much of the 'created' or even imaginary abstracts of experts making harder work than necessary of understanding the subject.

For me, getting to grips with understanding the realities of art presented greater difficulty than producing it. It certainly took a lot longer, but I hope you will enjoy sharing my thoughts and perspective.

Chapters 11 – 19 then serve as a tutorial to enable you to get better results than you ever thought possible by being made aware of the cheats, techniques and processes I have learnt over the years since my initial foray into painting.

Undoubtedly, I've encountered one significant realisation since beginning this book—an immense 'fact of art' that I initially overlooked: writing a book about art is no easy feat! Especially when you prioritise accuracy and clarity of the conveyed message.

My primary aim is to impart valuable knowledge to the reader using plain and understandable language, and my great concern is to avoid creating a book filled with superficial artistic jargon or subpar content.

For me, achieving a balance between depth and accessibility is crucial, ensuring that the book is free of artistic froth and mediocrity.