For next Tuesday, please read and respond to this fascinating essay by James Elkins, "A Multicultural Look at Space and Form".
This Tuesday we will watch the Art 21 episode on Matthew Ritchie, which I think relates to a lot of the issues in Victor's work. At 5.00 we will go to the lecture by Paul Madonna , which has been highly recommended to Angela by the Animation/ Illustration faculty.
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7 comments:
That was an exciting reading, I had not considered how much my perception of art is influenced by linear perspective. It was exciting to see some of the aperspectival paintings, such as Giovanni di Paolo’s painting of St. John. it allowed more of a story to be told to use that kind of space, and to have two frames of a story inside one frame. beautiful.
I have been playing with perspective in my own work recently, so this reading was well timed.
Since I've been hellbent on acquiring linear perspective skills since I started art school, I haven't really considered any other kind of perspective (on perspective). This reading was cool in pointing out that art bias and showing different approaches to space and form. I especially liked the machine diagrams that included both plan and elevation in one drawing--I feel like there's cool ways to work that 2 perspectives-in-one drawing idea.
Out of all the elements of art, space seems to be one which causes no end of struggle for my beginning artists. It was intriguing to think of it in a new way. My students are fascinated with linear perspective, yet developmentally many of them still can not grasp it and I always approach it with a sense of worry. My goal is to empower my students, not make them feel less sure of themselves. This article gave me new food for thought and has confirmed my suspicion that space can be a conundrum on any number of levels.
It is very inspiring to understand the space of the paintings and the sculpture by using different perspectives. I am impressed very much when the author illustrates the installation of El GRECO's painting in the Museum about the interaction between the frame, the painting and the whole surroundings. I think the audience's visual sense of an artwork is also one of the most important part of its own. An artist needs not only focus on the representation of the space of the objects, but also consider all the relationships among the artwork, the viewers and the environment.
It's good to read so many theories and learn the development of perspective. When read the section-Ornament versus Foundation, it reminds me the two type of Chinese painting which are brush and ink in Freehand Style (freehand) and Fine-brush with color(more formal). The former is about foundation(form),the later is more emphasize the ornament(color and fine). Here are two examples of Freehand and fine-brush paintings.
http://gjswj.jc.gansu.gov.cn/
Upictures/200632350352.jpg
http://www.icang.com.cn/bbs/attachments
/month_0609/renwuhua_05_TgydpylnwWnF.jpg
I think Shannon will show us some Chinese traditional landscape paintings which have no vanish point in the picture. I checked it, this perspective is called cavalier perspective or multiple-point perspective. It is not always fixed in a point and is not limited by the fixed field of view either when a picture is drawn. Its point can be moved according to the painter's perception and needs. And the sceneries both in sight and out of sight are drawn by the painter. The view point is always high, like bird-view.
Here is a famous ancient painting that use cavalier perspective.
http://www.tjfdc.gov.cn/blog/qmsht.html
Belated comments on the Elkins reading:
I really enjoyed the essay/small book by Elkins and its dealing with the cultural roots of perspective(s). To me past and present artist's attempts to show "everything at once" are just as valid and interesting as perfect two-point perspective images with clear horizon lines and vanishing points. Even works of that type are inaccurate interpretations of "real" space. With the invention of the camera all accurate representation in art became virtually pointless and the individual's interpretation of space came to the forefront. We already think we know everything that is "real" or can be measured or calibrated. In a world such as ours, it seems the only unmapped territory is the perspective of the individual's perspective on perspective (I knew I could work a pun in here if I tried hard enough).
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