One of the most important and inspiring sculpture of the impressionist period is ‘The Thinker’ by Auguste Rodin. Its importance lies not only in its inspiring form but the concept that is being followed by artists even today. It is said while doing this work, Rodin did not touch the sculpture and it was entirely worked on by his assistants. Rodin did the maquette—a sculptor’s small preliminary model or sketch—and the assistants just followed it in large scale under his supervision.
While working on the iconic The Last Supper, Leonardo da Vinci had lots of assistants helping him out. Many of them were qualified artists. One of the assistants, while working on this painting, made a scaled-down replica that shows the original colours Leonardo used while creating it. This work is in Briton. It is from this work that we get an idea of the original colours used in the colossal creation. The colours that remain on the painting today are nothing like what was originally used. Though restoration work is being done, factors such as weathering and the use of experimental colours by Leonardo make it so much harder. One hopes The Last Supper—one of the most important creations of the Renaissance period—remains intact for many generations to come.
There is an argument why artists use assistants to do their work. The fact is that concept and imagination is the supreme factor in art, not the way and method that is used to create it. The final creation is the most important factor. A true work of art is judged by its final aesthetic beauty and content, which takes shape in the imagination of an artist. How it is created, how many people are involved with it is not taken into consideration while enjoying the creation. The artist who conceptualised and visualised the work is only considered and appreciated.
There are co-operative conceptualisations among artists whose concept and ideas run in the same direction. I have seen this happen more often in Europe than in India. Many a time, I and my European artist friends discuss one particular artist among us whose new work is taking shape. We will discuss it at length and which direction it should take or what kind of form it has to contain, etc. The artist concerned may agree or disagree. In any case, here we are discussing the concept of an artist who has already formed it. It is only the minor details we are debating. Such creative discussions help all artists concerned to learn more and widen their horizons.
My British friend, the late artist Euan Uglow, was very open in discussing the course his new creation should take and would seek suggestions from his friends. One day he was working on a model that was a bit plump. I suggested he reduce the width of the body a bit. He immediately agreed and began to make changes in the drawing. Serious artists will always take suggestions if they are convinced it would improve the work.
While I was working in the National Academy’s community workshop ‘Garhi’ in the 80s, a lot of Indian art stalwarts were working there. Periodically, there would be discussions among us about a work in progress. Various aspects of its improvement were discussed and most of the time, the artist concerned has agreed and began to work on its enhancement.
—yusufarakkal1@gmail.com