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Anguish Painting

Eliza Matica

Romania

Painting, Oil on Canvas

Size: 19.7 W x 27.6 H x 1.2 D in

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About The Artwork

Oil on canvas , 2019 First exhibited at the "Rage" exhibition - Qreator December 2019 paintedbyme.portfolio.site/rage-12122019-qreator-bucharest Anguish is derived from the Latin word angustiae, meaning extreme pain, distress or anxiety. The feeling of suffering from anguish is typically preceded by a tragedy or event that has a profound meaning to the being in question. Anguish can be felt physically or mentally (often referred to as emotional distress). Anguish is also a term used in philosophy, often as a translation from the Latin word for angst. It is a paramount feature of existentialist philosophy, in which anguish is often understood as the experience of an utterly free being in a world with zero absolutes (existential despair). In the theology of Kierkegaard, it refers to a being with total free will who is in a constant state of spiritual fear in the face of their unlimited freedom. Anguish is made up of fear, distress, anxiety and panic. These stressors cause an enormous amount of dissonance, which could then lead to issues of mental health. While taken literally anguish may be defined as a physical event, but it may be extrapolated to an event of one’s psyche. It has been found that the anguish of a significant change in the way a young student lives (i.e. their new responsibilities, being on their own, multiple deadlines etc.) has contributed to significantly increased rates of college students suffering from anxiety and depression. " All the knowledge allied with inquisitiveness, thirst for knowledge, natural talent, the self-seeking passion, all the knowledge the natural man promptly understands to be worth learning is also basically and essentially easy to learn, and aptitude is involved here from first to last. Therefore people are willing enough to learn when it is a matter of learning more, but when it is a matter of learning anew through sufferings, then learning becomes hard and heavy, then aptitude does not help, but on the other hand no one is excluded even though he is ever so lacking in aptitude. The lowliest, the simplest, the most forsaken human being, someone whom all teachers give up but heaven has by no means given up-he can learn obedience fully as well as anyone else. — Søren Kierkegaard, Upbuilding Discourses in Various Spirits, 1847, Hong translation, pp. 252–253 Is “truth” the sort of thing one might conceivably appropriate without more ado by means of another man? Without more ado-that is without being willing to be developed and tried, to fight and to suffer, just as he did who acquired the truth for himself? Is not that as impossible as to sleep or dream oneself into the truth. Is it not just as impossible to appropriate it thus without more ado however wide awake one might be? Or is one really wide awake, is not this a vain conceit, when one does not understand or will not understand that with respect to the truth there is no shortcut which dispenses with the necessity of acquiring it, and with that respect to acquire it from generation to generation there is no essential shortcut, so that every generation and every individual in the generation must essentially begin again from the start? — Søren Kierkegaard, Training in Christianity, 1850, pp. 181–182; Lowrie translation 1941, 2004

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:19.7 W x 27.6 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

All my paintings have in common a mental reality, not a physical one. I am against painting that is based only on observation and theory, painting as if done by robot, painting that has the safety net of theories in painting. I want to explain what and how I paint, I will define it as a relationship between a mode of observation (internal and external) and a way of expressing it. This is the answer for which some works need to express the idea of figurative, others go to abstract or symbols and each one needs a different way to be realized. I do not paint a landscape, idea, theme, in an established pictorial way, I do not follow the theories and clearly established criteria. Depending on the psychological state of what I want to express, then I use one of many modes of expression in painting. In painting you can use color and size not only according to the physical reality, but also according to the mental reality. I am convinced that everyone had the surprise to find and find in places that have a different outline and other physical and emotional dimensions. After a while, longer or shorter, the fountain from which the water once drank changed its size. I do not paint with the same emotion, but under an emotional complex, this is why some works are intuitive, others are strongly rationalized. In each paper I had to tolerate the uncertainty, not knowing where the idea goes, to change the way the subject is played. There were quick endings, but there were also roads that closed and I had to resume and investigate what I want and I like the search. I tried to formulate what happens when I stand in front of a canvas, without exposing all the "cognitive maneuvers", the interpretation is left to those who regard, the benefit is both. This is what those who have already started digesting my paintings from the three years since I woke up in painting know this. So let's see outside what is not foreign to us inside!

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