Choosing subject matter in any style of visual art is difficult, but the task is even more daunting when it is for something as important as your Independent Study Unit.
At this point you should be aware of your rationale -- why you are creating this piece -- but you need now to decide how you are going to present your idea to your viewer via your subject!
Let's begin by reading the following post by artbistro.monster.com:
For the Sunday painter, an apple (or anything else — a tree, a face, a barn door) exists as an object that, if you are skillful at it, can be rendered faithfully and maybe even beautifully. For the professional artist, the objects of the world are reference points that connect to a vast array of possible ideas, subject matter choices, and intentions.
For the professional artist, an apple is not just an apple—it is a starting point. An artist may decide to use an apple in any of the following ways and many, many more!
1. Make It Gigantic
“Apple” by Benjamin Carr
He may be interested in the psychological effects of objects, not in their accurate portrayal, and may want, for example, to fill his canvas with a single apple so as to give it a singular power and presence, the way Georgia O’Keefe painted flowers “as if they were skyscrapers.” Picture a red apple completely filling a canvas all the way to the edges and feel through what psychological effects that image might have on a viewer.
2. Make It The Important Detail
Picasso often lamented, perhaps tongue-in-cheek, that viewers never realized that the peach in the painting they were viewing was not a detail but its very reason for being. “The whole painting is for the sake of that peach!” he would cry. Your painting may include many things but it may be the apple that really matters to you and that you intend to make matter to a viewer — the very reason, in short, you painted that painting.
3. Alter It Slightly or Completely
You may decide to alter the apple’s look for artistic, psychological, social, philosophical or spiritual reasons, making it surrealistically weep, presenting it as solid as a rock as everyman’s fruit (think of Van Gogh’s “Potato Eaters”), giving it a wispy look as an object in Heaven, and so on.
Mondrian’s “Apple Tree in Flower”
Or you may alter it so radically and drastically that it becomes a cubist fantasy, Mondrian-like, or otherwise completely unrecognizable. To get a sense of this process of altering you might track the many studies that Mondrian made as he further and further abstracted an apple tree until its final incarnation (see, for instance, his “Apple Tree in Flower” as one example).
4. Show Off Your Skills
An artist may want to display his skills and produce super-realistic objects that allow him to demonstrate how he can handle the folds of drapes, the sheen on grapes, or the rust on fire escapes. In part he is aiming for a psychological effect and in part he is simply showing that he is good at what he does. Think in this regard of an artist like Fantin-Latour and his 1861 painting “A Plate of Apples” or the contemporary Canadian painter Mina dela Cruz’s “Rojo y Verde.”
5. Give Us An Impression
“Four Apples” by Paul Cezanne
Impressionism proved that fleeting glimpses of objects provide as big a punch as those objects fully rendered in lifelike fashion. There is the “real” Rouen Cathedral and then there are Monet’s impressions of it. Imagine rendering an apple in the style of “Rouen Cathedral, Façade (Morning Effect).” It would still be an apple — but might look more like an iced version of itself!
6. Use It In A Narrative
“William Tells Son” by Ford Madox Brown
The apple may have its place, and get its look, as part of the narrative
an artist is telling: as, for example, as part of a Garden of Eden or
William Tell narrative painting. In the first painting it might need to
look particularly delicious, in the second painting frightening by
virtue of being hard to see (and hard to hit). Consider, as one example
of the narrative use of an apple, Ford Madox Brown’s painting called
“William Tell’s Son,” which shows a young boy holding an arrow-cleaved
apple.
7. Use It Suggestively
“The Son of Man” by Rene Magritte
What might an apple suggest? Rosiness? Health? Youth? Beauty? Might it suggest a simpler time, a quieter place, and a romantic idealization of America? Objects have cultural connections and artists can use them suggestively to put the viewer in mind of whatever it is the artist intends. To take one example, consider the following phrase: “He’s a bad apple.” In our culture, we understand what that phrase means—and how an artist might use an apple suggestively to portray evil.
The professional artist doesn’t just “see an apple” and rush off to render it. He has intentions. The better you understand your intentions as an artist, the less trouble you will have knowing “what to do with” the objects of the world.
Involuntary: synesthetes do not actively think about their perceptions; they just happen.
Women: in the U.S., studies show that three times as many women as men have synesthesia; in the U.K., eight times as many women have been reported to have it. The reason for this difference is not known.
Vasily Kandinsky (painter, 1866-1944)