The comparison with the van Gogh is interesting, but it's not really that. It's some combination of the overstated hot light, subject matter, paint handling, and general overcoloring, I think, but it's hard to pin down.
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Replying to @kendrictonn @mr_archenemy
It's like graphic design that doesn't want to "waste room" on white space...but a small ad on a big page can say a lot more than using up all that space.pic.twitter.com/cgAS33T0QL
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Also ties into Marshmallow Test. "Can you slow down and enjoy the quiet parts of the painting which make the bright parts more meaningful? Or do you need wide screen TV, revving jetski engines, high sugar snacks NOW NOW NOW?"
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Replying to @MorlockP @mr_archenemy
Ahaha yes I think you're right about this being a big part of the Target Aesthetic, describing both the visual and the emotional content.
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Replying to @kendrictonn @mr_archenemy
I am a Snob™ in many things. When my baby bro got engaged he bought a Thomas Kincaid Painter of Light™ painting for his fiancee that she loved loved loved. I am proud of keeping my cringe 100% internal.
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Replying to @MorlockP @mr_archenemy
I applaud your stoicism in keeping that cringe internal, even in the face of someone gushing over a painting by Mr. Of Light™
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Replying to @kendrictonn @mr_archenemy
I am offended by the fact that Mr Light™ used warehouses full of Trained Assistants to do 99% of the work and maybe - MAYBE - added a single haphazard brush stroke to each to make it "authentic".
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It's the lie here that offends me. I understand levels of rarity. I have two signed Michael Whelan artist's proofs - he painted picture X, photographer shot 10x with different f-stops, etc., each of those was printed, he picked one, signed each of the 10, I own one. A photo.
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NOT the original. /shrug it is what it is, I know what it is, and I am happy w it. Just as I own a signed / numbered Mobius print. Not the original. It is what it is, and I know what it is. Honest transactions. Repeating: It's the lie that offends.
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Replying to @MorlockP @mr_archenemy
Assistant work is such an odd thing. Reubens did it too, but I don't find it distasteful in the same way. Maybe it's just that he maintained a quality of output, and didn't do the shady Kinkaid things you're describing
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I think Rubens is different because technology was different. Using assistants to paint filled the same role that high quality glicee / etc prints do today. Ornamentation for middle class homes, NOT claiming to be originals. Kincaid COULD have >>>
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offered paper prints at $200, glicee at $1k, "personally overseen assistants" at $2k, and originals at $10k, if he wanted that's honest and transparent
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Replying to @MorlockP @mr_archenemy
(technology for two reasons, too, you also need assistants if you can't just buy paint in airtight tubes!) But yeah, I don't know too much, but I have a sense contracts with terms like "heads and hands to be painted by The Master" were a normal thing
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