Documents similar to http://www.webexhibits.org/hockneyoptics/post/pearlstein.html |
Art and Optics : Philip Pearlstein: Page 1 « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography The series below is one of my early over-life-sized portrait paintings, being painted from life in 1969. The painting is six feet high. The models were Linda Nochlin and her husband Richard Pommer, both art-historians. My aim was only to paint as exact a likeness in that situation as I could, without wanting to interpret them psychologically. They sat there quietly for many hours over the course of a week in a very hot, mosquito-ridden cabin in Skowhegan, Maine, while I painted it. I paint people and landscapes from direct observation. I do not use mechanical or optical devices of any kind to make my drawings or paintings. However, I did one painting that is an exception to that self -imposed rule. In 1993 I was persuaded by art historian Irving Lavin, who in the early ... http://www.webexhibits.org/hockneyoptics/post/pearlstein.html · 17.2k |
Art and Optics : Philip Steadman: Page 1 « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography In Secret Knowledge, David Hockney points to the various optical effects in Vermeer's paintings that have led so many commentators, over the last hundred years, to suspect Vermeer of having used the camera obscura. These include Vermeer's so-called 'photographic perspective', in which figures near the viewpoint can appear excessively large; his passages rendered out of focus; and his reproduction in paint of certain artefacts of unfocussed lenses, notably his treatment of highlights on shiny surfaces. My own argument for Vermeer using the camera turns rather on the perspective geometry of a group of his paintings of interiors. I would like if I may to summarise my findings very briefly, especially since critics of my book, including Walter Liedtke, have directed their ... http://www.webexhibits.org/hockneyoptics/post/steadman.html · 13.5k |
Art and Optics : Walter Liedtke: Page 1 « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Frick Milkmaid - Cav & G For the sake of time I'll read my presentation and describe my approach to this material more plainly than I would to historians of Netherlandish art. I'm in this field firstly because of a fascination with questions of visual perception and with how artists invent (in Gombrich's words) "comparisons that work," by which the late author of Art and Illusion meant artistic "conventions" or analogies to optical experience. In London during the 1970s, when I wrote my dissertation on "Architectural Painting in Delft," the most revealing guides were not studies or scholars of Dutch art per se, but Gombrich himself, B.A.R. Carter ("Sam Carter," a painter at the Slade School who wrote the best history of linear perspective in print (in the first edition of ... http://www.webexhibits.org/hockneyoptics/post/liedtke.html · 12.9k |
Art and Optics : Sidney Perkowitz: Page 1 « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Science and Art Closer Than You Think Artists and optics The following are thoughts about how: Optical technology and the study of light go far back in human culture Contemporary artists are often quick to adopt new technology, or to absorb its implications. Was it any different then? Why should the use of a tool diminish the value of the art? Optical technology and the study of light go far back in human culture A Brief History of Optics: Reflection and Mirrors 2000 - 1000 BCE: mirrors in Egyptian tombs, in book of Exodus c. 500 BCE: Mo Zi, China, examines concave mirrors 300 BCE: Euclid (ascribed), Catoptrics, gives law of reflection c. 212 BCE: Archimedes uses curved mirrors to burn Roman warships with sunlight (unsubstantiated) c. 300 CE: earliest known flat ... http://www.webexhibits.org/hockneyoptics/post/perkowitz.html · 17.0k |
Art and Optics : James Elkins: Part I (Strictly optical questions) « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Part I (Strictly optical questions) | Part 2 (More general questions) Optics, Skill, and the Fear of Death Introduction I have two kinds of comments to offer: the first is "inside" Hockney's project -- that is, accepting his terms and speaking only about what seems plausible and what looks more problematic. The second is "outside": assessing the book's relation to contemporary art history and the effect it may have on readers. I. Strictly optical questions 1. The optical procedures posited in Hockney's book are all radically undertested. There are three devices posited in Hockney's book: the camera lucida, the camera obscura, and the concave mirror. First, then, it's relevant that camera lucidas come in a wide variety of shapes and sizes. I have three camera lucidas ... http://www.webexhibits.org/hockneyoptics/post/elkins.html · 11.3k |
Art and Optics : David G. Stork: van Eyck « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary "Opticality" in early Renaissance painting: Smoke... or mirrors? van Eyck's "Portrait of Cardinal Niccolò Albergati": Alternate non-optical explanations A plausible schematic of the Hockney/Falco setup shows the silverpoint on a small table, a concave mirror and the projected image on the canvas 40% farther away (as required by the magnification). We first consider images Hockney and Falco enlist in support of their theory: two portraits of Cardinal Niccolò Albergati by van Eyck. The earlier is a silverpoint (1431), the latter an oil about 40% larger, executed the following ... http://www.webexhibits.org/hockneyoptics/post/stork.html · 21.2k |
Art and Optics : David G. Stork: Demonstrations « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Modern demonstrations: Problems with method, illumination, drawing vs. painting... I am aware of just three modern demonstrations in which Mr. Hockney recorded an image according to the methods he and Mr. Falco propose: a) a portrait reminiscent of van Eyck's "Portrait of Cardinal Niccolò Albergati" done in Los Angeles (pp. 74-77), b) a portrait done in a shop front beside a town square in Italy, and c) a hypothetical "re-enactment" of the creation of Caravaggio's "Bacchus." The last two appear in Mr. Hockney's BBC documentary. All three, and d) the mirror setup at the New York ... http://www.webexhibits.org/hockneyoptics/post/stork11.html · 12.8k |
Art and Optics : Charles M. Falco and David Graves: Response to Tyler « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Introduction | Response to Tyler | Response to Stork | More response to Stork | Summary Christopher Tyler's objections Christopher Tyler lists six objections, only two of which address in any way our optical evidence. As we show below, these two objections are based on an incorrect understanding of optical perspective, which in turn results in his conclusions being in error. His other four points are logical red herrings, having no bearing on either the scientific or the visual evidence. Tyler states: I show several lines of contrary evidence, implying that Renaissance artists constructed their compositions purely through artistic intuition, without optical aids (or accurate geometric methods). 1. Most Renaissance artists show perspective discrepancies within local ... http://www.webexhibits.org/hockneyoptics/post/falcograves2.html · 10.4k |
Art and Optics : Wyatt Mason: Art Krush « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Media summary | Art Krush | NY Review of Books The AK Wrap-up: Smakdown! It's always interesting to witness the thin veneer of civility that governs human interactions stripped away, particularly when the participants are wearing ties. Case in point: this past weekend, in Manhattan, The New York Institute for the Humanities at New York University hosted a symposium devoted to a discussion of artist David Hockney's theories regarding the use of optics in western painting over the past six hundred years. ArtKrush readers first read of Hockney's ideas in Lawrence Weschler's AK special report, "Through the Looking Glass," a portrait of an idea that reads like a high-wire act. Weschler, not content to leave the debate to the page, turned pen to sword and cut the ribbon on the ... http://www.webexhibits.org/hockneyoptics/post/media_artkrush.html · 7.7k |
Art and Optics : David G. Stork: Arnolfini portrait « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Two views of the creation of the Arnolfini portrait I think it helps to bring together a range of evidence to see general trends and distinguish explanations. From my analysis, for the Arnolfini portrait we must choose between two mutualy exclusive cases: CASE 1: that nearly a century before any record of how such a concave mirror might be ground (in a personal notebook of Leonardo's, in a different language, with obscure handwriting, over 1000 miles away) that in the absence of modern demonstrations of hand-creation of a long-focal length concave mirror by blown (and possibly ... http://www.webexhibits.org/hockneyoptics/post/stork8.html · 9.9k |
1982 results found, top 500 sorted by relevance
Showing matches 1 - 10