tag:blogger.com,1999:blog-7298724795199805982024-03-19T04:49:44.868-04:00surface fragmentsDecorative Painting BlogAlanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-729872479519980598.post-81144661949907718532017-04-21T19:57:00.001-04:002017-04-22T10:09:34.268-04:00Apelles and the Birth of Illusionism: Ancient lessons in painting spatial depth<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirxZKY1nYYZWbP9NxZaR-NYVgx34WZdJbP6CIHwQd1XMpHNOZi_F-jGQ9TjDkYcukuKI7ySiLaeRvJe794zQyXCd1JvNeV8r6WtXP-mOoXcw9ZJ6QWbnZgUER5mS_4VoHNvAONSOPpeHk/s1600/IMG_4829.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirxZKY1nYYZWbP9NxZaR-NYVgx34WZdJbP6CIHwQd1XMpHNOZi_F-jGQ9TjDkYcukuKI7ySiLaeRvJe794zQyXCd1JvNeV8r6WtXP-mOoXcw9ZJ6QWbnZgUER5mS_4VoHNvAONSOPpeHk/s640/IMG_4829.JPG" width="484" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b646d515-9020-3608-276d-bd7589fa43d4" style="color: #666666;"><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">[Fig. 1] Man In Armor, </span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">Rembrandt van Rijn, Oil on canvas, 54” x 41”, 1655</span></span></td></tr>
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<span style="color: #134f5c; font-family: "verdana" , sans-serif;"><b>Apelles and the Birth of Illusionism:</b></span></div>
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<span style="color: #134f5c; font-family: "verdana" , sans-serif;"><b>Ancient lessons in painting spatial depth</b></span></div>
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<span style="color: #666666;">[This article appears in an edited form in <i><a href="https://www.amazon.com/Lessons-Classical-Painting-Essential-Techniques/dp/1607747898" target="_blank">Lessons in Classical Painting</a></i>, by Juliette Aristides.]</span></div>
<span style="color: #444444;"><br /></span><span style="color: #444444;">During the early Middle Ages surfaces were not simply painted. That is, if painters wanted to create the look of gold they didn't just create a painted facsimile, they applied real gold to the surface. They reasoned; why bother imitating one material with another? In the 14th century, for example, Cennino Cennini recommended that if you wanted to paint wool you should scuff up the surface of your panel with a wooden block so that it would <i>feel wooly</i>. Artists were not interested in using paint as a tool to produce the mimetic illusion of gold the way Rembrandt did years later.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">With the advent of Humanism, artists of the late Middle Ages such as Rembrandt ignored their immediate predecessors and began looking instead to the time of the ancient Greeks for inspiration. They viewed it as a time when nature itself was a guiding principle, and believed that what Proclus had said two thousand years earlier was still true: “Space is nothing other than the finest light.” Painters felt that if they could relearn how to capture the elusive effects of light, they too could command space.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Rembrandt’s stunning 1665 portrait of Alexander the Great, <i>Man in Armor</i> [Fig. 1], may seem relatively modern to our eyes but it employs techniques that had been invented in ancient Greece some two thousand years previously by a painter called Apelles. During Apelles’ own lifetime, his fame and reputation were unrivaled, and he soon became the favorite portraitist of Alexander the Great. So it is fitting, then, that when Rembrandt paid deferential homage to Apelles’ ancient techniques, he chose as his subject the same man; the 22 year-old Macedonian conqueror of half the globe.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">[Fig. 2] The mosaic from the Galla Placidia mausoleum. Created around 450 AD, this mosaic captures the transitional style between earlier naturalism and medieval symbolism. Still, certain stylized methods were carried forward, including Apelles' line, highlighted in red for clarity (the original used gold mosaic tiles).</span></td></tr>
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<span style="color: #444444;">Apelles had understood what painters of the Middle Ages seemed to have forgotten, but his lesson was deceptively simple: Value (light and dark, essentially) is the best painterly means of producing the illusion of depth. Put another way, Apelles’ big discovery was that black recedes and white advances, or, hollows are dark and ridges are light. The term highlight indelibly carries with it this sense that what is light in color is also high in relief – a notion that did not exist in concrete form before Apelles.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Apelles' addition of a white line along the leading edge of a plane pushed space forward towards the viewer. Despite being based in observation, this was the advent of a painterly convention, a visual trick, and a lesson in perception that Rembrandt would have viscerally understood. It's one that has lasted until this day, and while it may seem blindingly obvious to us now, it’s worth taking a closer look to fully appreciate what Apelles was trying to tell us [Fig. 2].</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b646d515-9021-5464-15b6-79c50b4ca727" style="color: #666666;"><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fig. 3</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">] Without Apelles' highlighted edge, the “cube” (</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">A</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">) on the left can be read spatially in two ways,
while (</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">B</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">) and (</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">C</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">) cannot. </span></span></td></tr>
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<b><span style="color: #134f5c; font-family: "verdana" , sans-serif;">The Line of Apelles</span></b></div>
<span style="color: #444444;"><br /></span><span style="color: #444444;">Without a highlighted edge (Apelles’ so-called “line”), spatial depth in paintings can be ambiguous; form can appear raised or recessed depending on how one looks at it. The addition of Apelles’ lit edge collapses this ambiguity, and establishes forms as either raised or recessed – but not both [Fig. 3].</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">This was a discovery that owed its origin to developments in theatrical scene paintings of ancient Greece during the Golden Age, around 500 BCE, when artists first created the illusion of raised or recessed panels on a painted backdrop known as the <i>skene</i>. Scenic painters knew that the gleam on a raised edge destroys any spatial ambiguity as to the direction of the three-dimensional relief that might arise from a shifting light source [Fig. 4].</span><br />
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<span style="color: #444444;">Ancient Greeks saw the world differently to medieval Europeans, and it showed in their painting. Broadly speaking, while medieval artists had subjugated the world of the senses in the service of higher ideals (in the mold of Plato), subsequent Renaissance painters re-awakened to the world of Aristotle - where knowledge could be acquired by apprehending the world via the sensory apparatus; where light and surface were worthy of study.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span id="docs-internal-guid-b646d515-9021-c097-280e-495d0fe61c4e"><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[Fig. 4] In the left panel, the image reads as small </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">raised</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> rectangles, while on the right, it looks as though the rectangles are </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">recessed</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> and it’s the background grid that’s raised. They are however the same image; the one on the right is just flipped upside down. It’s an illusion caused by the fact that we evolved to orient ourselves by the sun, and it’s much less likely that the sun is shining from below than it is for the rectangles to have gone from raised to recessed, so we believe the latter.</span></span> </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[Fig. 4a] Above, the lessons of </span><span style="color: #666666; font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Figs. 3</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="color: #666666; font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">4</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> have been combined into a rendering of the capital letter E. In (</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">A</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">), the letter can be read spatially as either recessed grooves lit from below or raised relief lit from above. In (</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">B</span><span style="color: #666666; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">), the application of Apelles’ white line forces us to read the letter as raised relief, lit from the top left. </span></td></tr>
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<span style="color: #444444;">Not surprisingly, this intellectual precedent had cultural significance in the ancient world stretching back even further than the Greeks. “In Old Kingdom Egyptian tombs, the figure of the deceased had to be recognizable so the Ka could find its proper habitation,” said the American historian Daniel Boorstin, explaining the cultural focus on verisimilitude that clearly informed artistic production in Hellenized Egypt [Fig. 5]. Apelles was the product of a culture that valued observational reality, and when this method of inquiry was rediscovered in the 16th century, so was he.</span><br />
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<span style="color: #444444;">If we compare the ancient Egyptian paintings known as the Fayum mummy portraits (named after their place of discovery) with Rembrandt’s <i>Portrait of a Bearded Man</i> [Fig. 6] painted almost two thousand years later, we can see very little difference. The lighting is practically identical – from the accentuated bright spot on the tip of the nose and the sparkle of light in the eye to the hint of reflected light on the right edge of the cheek.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">And then of course, there is Apelles’ line running down the bridge of the nose. Rembrandt knew, as had the Greeks, that placing your brightest values next to your darkest draws our attention. The human eye is inescapably drawn to high contrast. In a field of white sheep, it's hard not to stare at the black one. Echoing Apelles, Rembrant merely exaggerated the transition from light to dark into what was to become his signature style; a schizophrenic drama of bright illumination on the one hand and brooding darkness on the other.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;">[<span style="font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fig</span><span style="font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">. </span><span style="font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">6</span><span style="font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">] Fayum mummy portrait, C. 100 BCE </span>(left)</span><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">
</span><span style="font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Portrait of a Bearded Man with Wide Brimmed Hat (detail)</span><span style="font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">, Rembrandt Van Rijn, 1633
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<b style="color: #134f5c; font-family: Verdana, sans-serif;">Contrast as a Cue to Spatial Depth</b></div>
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<span style="color: #444444;"><br /></span><span style="color: #444444;">Not only does the addition of highlights naturally draw our attention, it contains valuable information regarding spatial depth. Physiologically speaking, if the visual data received by the eye are either highly contrasted, have concentrated detail (or both, as in the eyes and nose in Figs. 5 and 6), we interpret them as being closer to us than data that have less contrast and less detail.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">There is an unavoidable psychological response to fine-painted detail at play here. Humans discern spatial information from surface texture such that when our eyes make small jumps (called saccades) from point to point while looking at a rough surface, our brain picks up the message that that surface is near to us. Rough texture is a depth cue understood by the brain to signify proximity. Thus, objects with sharp light-to-dark transitions or strong background contrast are interpreted by the brain as being close to us, while objects with smooth light-to-dark transitions or weak background contrast are interpreted as being far away. No doubt, there was an evolutionary advantage to being immediately able to tell whether that charging wildebeest was near or far. Depth cues manipulated by artists trace a psychological lineage all the way back to early hominids hunting the plains and avoiding danger [Fig. 7].</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b646d515-92c4-1da5-34d9-f9d0bb101d38"><span style="color: #666666;"><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fig. 7</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">] Here, Munsell’s value scale (1-9) has been superimposed in rows upon a graduated background. Known as the </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Bartleson-Brenneman effect</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">, values along the red diagonal axis appear to be </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">further away</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> because they contrast </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">less</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> with the background, while values along the green axis appear </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">closer</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> because they contrast </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">more</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> with the background.</span></span></span></td></tr>
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<b><span style="color: #134f5c; font-family: "verdana" , sans-serif;">Value Constancy</span></b></div>
<span style="color: #444444;"><br /></span><span style="color: #444444;">Furthermore, we interpret our world not through absolutes of value, but via relative differences. A white floor tile seen in an interior by Vermeer, for example, can be instantly recognized as "white" by the brain despite being nowhere near the white end of Munsell's value chart in terms of its actual value [Fig. 7a].</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Form and space are interpreted not through absolutes of value but through the relationship of one value to another. What's more, even in a darkened room we can still read depth and form despite all the values being dark and relatively similar in an absolute sense [Fig. 8]. In a room that's almost completely dark we can still spot that white floor tile, reminding us that perception happens in the mind and not the eye.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">The actual value of the floor tile outlined in red (A), when plotted against Munsell's value chart, is surprisingly dark despite us knowing that it is "white."</span></td></tr>
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<span style="color: #444444;"><br /></span><span style="color: #444444;">This phenomenon is called value constancy: it’s our innate tendency to group and hold the perception of an object despite changes in visual data. Thus understood, representational painting is no longer the strict transcription of optical data but becomes, according to historian Ernst Gombrich, a “system of notification;” a set of agreed-upon conventions that may have little to do with observational reality - we paint what we know, not necessarily what we see. Apelles knew this better than any Middle Age painter.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Equally, Rembrandt knew that he didn’t have to pepper his whole canvas with strong blacks and whites in order to render form. He knew that by manipulating value constancy, contrast and value, he could create a more convincing illusion of spatial depth and surface texture (such as gold) than by simply applying real gold to canvas. Understanding the way the mind perceives the world is the key to Rembrandt’s metallic sheen in Man in Armor, and he valued it among his most prized magic tricks.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">It's important to note here that learning by observing reality does not mean painting what you see in front of you. This seems counterintuitive at first, but what was important about Apelles' discovery was not that it conformed to what the eye sees, it's that it conformed to how the mind perceives. Aristotle, as the father of the scientific method, knew that insights into human perception came from direct observation of nature. It's up to the representational artist to learn how to manipulate this psychology into illusionism.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Talk of "mimesis" and "observation" may fool us into thinking that we are learning how to see the truth of the world. The greatest illusion of the artist is to convince the viewer that she is seeing reality. All of this is nothing but painterly smoke and mirrors. Tricks of the trade. All that we in the West are seeing when we look at a Rembrandt, for example, is a set of Western cultural conventions; artistic norms that may have a basis in shared psychology but are temporally and culturally rooted. Indeed, there's nothing less realistic about the Art of the Middle Ages than that of the Renaissance, or any other time for that matter.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-b646d515-92c4-4edd-653e-2d9d81c5304a"><span style="color: #666666;"><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">[</span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fig. 8</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">] This classic illusion demonstrates “value constancy." Even with all the lights turned down (or in shadow, as above) we can still recognize a “white” square on the floor, although in absolute terms the square is far from white: </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">A</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-family: "arial"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">B</span><span style="font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> are the same value.</span></span></span></td></tr>
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<span style="color: #134f5c; font-family: "verdana" , sans-serif;"><b>Metallic Sheen</b></span></div>
<span style="color: #444444;"><br /></span><span style="color: #444444;">Rembrandt's ability to capture the effect of metallic sheen was a hard-won technical victory in what was, at the time, a march towards mimesis - the ability to capture the optical effects of light bouncing off the material substance of the world around us - and it owed much to Apelles. Indeed, there is a direct line from the ancient Greek's early innovations that carries all the way through the Renaissance to inform representational painters to this day. But when it came to rendering metal in paint, Rembrandt took Apelles' lesson one step further.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Rendering highlights is not the same as rendering reflection. With the further inclusion of specular highlights to the effects of modeling, much information about the nature of the surface texture can be suggested. Metallic surfaces (particularly curved surfaces such as Alexander the Great's armor or the lip of a goblet) tend to reflect the intensity of the light source – usually the sun. With the exception of bronze and gold, these metallic surfaces reflect little if any local color.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Unfortunately for the painter, white pigment has an upper limit as far as its ability to depict specular highlights – it simply will never be as bright as the sun – so Rembrandt had to cheat when painting his armor. He knew that if he simply painted everything else darker, then his lights would automatically look lighter. Because we intuitively know what we’re looking at thanks to the gestalt principle of value constancy, he knew that he could artificially lower the observed values of the overall scene without compromising spatial depth, and that even on a darkened canvas we’d still be able to read form and surface texture. The only way to make your specular highlights seem as bright as the sun is to darken everything else.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">This trick would simultaneously enable him to create a higher relative jump in value to his specular highlights – a necessity when it comes to painting metallic sheen [Fig. 9]. This observation holds true when we consider Man in Armor: precisely because the overall value is relatively dark and indistinct, we know that we are looking at the shiniest metal when we see the bright reflection on Alexander’s helmet and breastplate.</span><br />
<span style="color: #444444;"><br /></span><span style="color: #444444;">Perhaps, in the end, old people are not simply bad at computers and unpredictable in traffic. Maybe they do have something to teach us.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjouTm5CeIgBHlLztgqhf4vTlXmH6lA9r2FevQzwU5WI4IkoS2RwNCQAITm5TatwGO-IjvXL0Iis_KTQuCemWkJeQmcx6qZjNB_an7nT4RmQVGAoQaOdtBaiFE1osA-czBrcfFogVpeF00/s1600/Screen+Shot+2017-04-21+at+7.08.14+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjouTm5CeIgBHlLztgqhf4vTlXmH6lA9r2FevQzwU5WI4IkoS2RwNCQAITm5TatwGO-IjvXL0Iis_KTQuCemWkJeQmcx6qZjNB_an7nT4RmQVGAoQaOdtBaiFE1osA-czBrcfFogVpeF00/s640/Screen+Shot+2017-04-21+at+7.08.14+PM.png" width="374" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">[Fig. 9] <i>The</i> <span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Rape of Prosperine</span><span style="vertical-align: baseline; white-space: pre-wrap;">, (detail) Rembrandt van Rijn. In order for Rembrandt to depict specular light on metal he lowered his surrounding values, enabling the highlights to pop. His specular highlight (f) is almost 4 value points from its next closest value, perceptually implying that we are looking at metallic sheen. And yet, notably, when plotted against the Munsell value chart, it’s clear that even his highest highlights (</span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">f</span><span style="vertical-align: baseline; white-space: pre-wrap;">) are still relatively low-key (</span><span style="font-style: italic; vertical-align: baseline; white-space: pre-wrap;">7</span><span style="vertical-align: baseline; white-space: pre-wrap;"> on the Munsell chart). Rembrandt still has room to spare at the top end of the value chart if he needed it.</span></span></td></tr>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com55tag:blogger.com,1999:blog-729872479519980598.post-85132746031158702582016-11-09T07:05:00.000-05:002016-11-09T22:02:52.553-05:00How to Paint the Figure in Trompe l'Oeil <div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJA5fvlXO1PZ0NUFI6wn09mQtmK8GUtalq7eKk83uvlq8bw5B2PkgWkBtWMpNv4-Rnap1_lCHe9Yl5jlnL4JdsrAB3l3374sy33gZI7PckW9X21gq4DaIzth5rmALyXO4zaxYcSpGej_U/s1600/Screen+Shot+2016-11-08+at+10.11.50+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJA5fvlXO1PZ0NUFI6wn09mQtmK8GUtalq7eKk83uvlq8bw5B2PkgWkBtWMpNv4-Rnap1_lCHe9Yl5jlnL4JdsrAB3l3374sy33gZI7PckW9X21gq4DaIzth5rmALyXO4zaxYcSpGej_U/s640/Screen+Shot+2016-11-08+at+10.11.50+PM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here is a detail from the finished painting, enlarged because I used very small brushes.</td></tr>
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You can use any background you like. I used an old faux-painted limestone sample I had lying around, but you could just as easily do this on <i>faux bois</i> to imitate the look of carved wood. The only stipulation I'd make is that to get the best effect, your background should be no darker than mid-range on the value scale.<br />
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In the next image, you can see the brushes I used. One small pointy one, and another splayed out and busted one. When doing shadows, I'd paint with Mr. Pointy then stipple and soften with the busted one. I'm not very fussy about materials or brushes. When I was young, I used to read all those manuals and study hard to learn the "secret" materials that would give me the edge. The only secret, I learned, is your eyes.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7rTq4O95hyphenhyphent0PCrmx3Bk0g7vW5NEwyWM2VE_CyE5QFFWZmZUQ9PD8SFa-sMetsBecUsbWNgeaM13aVtsm32qeIxcZEP2HfftPDakTA9ndJFXWgr3lURQv5rvX3AueKlSoHBuL4_PQ3OQ/s1600/Step+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7rTq4O95hyphenhyphent0PCrmx3Bk0g7vW5NEwyWM2VE_CyE5QFFWZmZUQ9PD8SFa-sMetsBecUsbWNgeaM13aVtsm32qeIxcZEP2HfftPDakTA9ndJFXWgr3lURQv5rvX3AueKlSoHBuL4_PQ3OQ/s640/Step+1.jpg" width="518" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 1</td></tr>
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If you look closely in Step 1, you can just make out the pencil lines I used to establish the basic design. I took a photo of a <i>bas relief</i> panel at the Met as my reference. This is actually the first time I've used a photograph of actual relief as reference material. Mostly, I'm either inventing relief or copying another trompe l'oeil painter's work (who probably also invented the relief). This was a great chance for me to exercise Rule # 1 in illusionistic painting: <b>Paint what you see, not what you know. </b><br />
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It's all too easy to fall back on what we "know" about Form rather than simply using the evidence presented before our eyes. "Shadows are dark; highlights are white; reflected light goes here; etc." These are all <i>learned</i> rather than <i>observed</i> truths. [Painters use old tricks such as flipping their image upside down, or examining their work in a mirror, to escape the natural tendency to paint what we think we see.]<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCn7QeG056xNG6FMPd7hS5UKw_-t4sjwkWhkvKUiJOaY-OEWmCxvEZZC6gHS7V0HL3TmotT3eBD6j7yAiMrY8wwgF8jgjyvK8zVD9el74TvGN9E3ZcbtBegnanicLJuwUuzIMDZDM6r8/s1600/Step+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCn7QeG056xNG6FMPd7hS5UKw_-t4sjwkWhkvKUiJOaY-OEWmCxvEZZC6gHS7V0HL3TmotT3eBD6j7yAiMrY8wwgF8jgjyvK8zVD9el74TvGN9E3ZcbtBegnanicLJuwUuzIMDZDM6r8/s640/Step+2.jpg" width="408" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 2</td></tr>
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<i>Step 2</i> shows the completed shadows. There are no highlights at all here. You can see that the effect is 99% complete already. We could easily leave it like this, and call it a day.<br />
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I build the shadows very slowly using Ultramarine and Raw Umber acrylic paint, mixed with a little matte varnish (which dries quickly so I can keep working) as a medium.<br />
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The shadows are built up in layers. I never try to establish the darkest dark in the first pass. It's much more tentative then that. I build up darks in translucent glazes, always erring on the lighter side. I tend to work back and forth all over the image, as opposed to finishing each area completely as I go.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Hy0QdkJNbyMXdNV5BiTqvrVFTtxp5OA_DPQH1KuJcbpJfRiew7EFykjz9fPwwzY2VQPFXqPi5B5PhchmxydiCVfLSbM3KWdGrU60h5cRrFdo8OkN39-c4Fufzz6diuz2ajvwMw7hscE/s1600/Step+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Hy0QdkJNbyMXdNV5BiTqvrVFTtxp5OA_DPQH1KuJcbpJfRiew7EFykjz9fPwwzY2VQPFXqPi5B5PhchmxydiCVfLSbM3KWdGrU60h5cRrFdo8OkN39-c4Fufzz6diuz2ajvwMw7hscE/s640/Step+3.jpg" width="408" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 3</td></tr>
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<i>Step 3</i> is my first pass at highlights. They might be hard to detect on your screen, as they are very subtle, but they are there. I used an opaque white, mixed with yellow and a little purple. I've heard that some people like to shift the hue of their highlights in opposition to the background color in order to make them pop more. [In other words, if the background hue is yellow (as with mine), they might shift their highlights into purple so that they jump out at you.] I don't do this. I use a lighter value of the background.<br />
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Use highlights very sparingly! As subtle as mine might look to you, when I look at the opening detail image of this post, the highlights jump out at me as being too strong and brushy. The image looks like it's been dusted with snow. The shadows are soft and muted, as they should be, but the highlights are harsh, overused and overly delineated. We want to avoid this at all costs. (It was too late for me).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNa9sCzm5azmCiM-gf_-IFNAGm6YLWvqRvHbqBnIZemi8_4MZ3-wK4ABdFSlIN9CjNTR6sIUITSfccD3uw9CVVkXXYh7MKTXBeDrJ5W8EYCBD43BnbovEmJJTtqddUKtr8K_AbmsGwU0/s1600/Step+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNa9sCzm5azmCiM-gf_-IFNAGm6YLWvqRvHbqBnIZemi8_4MZ3-wK4ABdFSlIN9CjNTR6sIUITSfccD3uw9CVVkXXYh7MKTXBeDrJ5W8EYCBD43BnbovEmJJTtqddUKtr8K_AbmsGwU0/s640/Step+4.jpg" width="408" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 4</td></tr>
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In <i>Step 4</i>, the only difference is that I carefully glazed the chest, top of the head, and the right knee with a second highlight. I decided that those three areas should be a little more prominent than they were.<br />
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It will be easier to see the differences between stages if you view these images in slideshow mode, and scroll between them.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Ia-rwGa-BFtuB7o-UXuOcReiVJzttV0XmVJu-6VojmB89JhCSbc29zxWxaPiFA4GMnnfyHNGhmHXH2NvmAt3n6Xvt-xoQDKgFOxS9qlMy4hYl9BydyLMRk2Ccq4sUJ8N3eD5PyMtGRI/s1600/Step+5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Ia-rwGa-BFtuB7o-UXuOcReiVJzttV0XmVJu-6VojmB89JhCSbc29zxWxaPiFA4GMnnfyHNGhmHXH2NvmAt3n6Xvt-xoQDKgFOxS9qlMy4hYl9BydyLMRk2Ccq4sUJ8N3eD5PyMtGRI/s640/Step+5.jpg" width="408" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Step 5</td></tr>
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<i> Step 5</i> might be hard to see, but I think it made a difference. Since all my highlights were already laid down, the only way I could make the relief pop a little more was by darkening the background. I explained the reasoning behind this in a separate post about relative value, <a href="http://surfacefragments.blogspot.com/2012/10/how-old-masters-created-look-of-gold-in.html" target="_blank">here</a>.<br />
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I certainly didn't want to add any more highlights, as mine were already too bright. Instead, I used a very washy ultramarine/raw umber glaze and stippled it all around the top right corner, outside the main figure.<br />
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I also used a glazed version of my highlight color and subtly lightened the bottom left corner (again, outside the figure only).<br />
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Finished.<br />
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To give you an idea of how light/dark my values are, here is a chart that shows you (below)...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-iZiaeK8HjxRbsL0m1WjgxF4c8_FCA-snJ_9xq2LFAxfVkec3wy0BtVEDcsxXLtHwdl09b_HkpRz1FXO-aHQbC7VuLRSl8GURrURbOq5429WY-SePiRjlV2GV5NAGaV4ZZXLRr_X84lw/s1600/Untitled-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="614" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-iZiaeK8HjxRbsL0m1WjgxF4c8_FCA-snJ_9xq2LFAxfVkec3wy0BtVEDcsxXLtHwdl09b_HkpRz1FXO-aHQbC7VuLRSl8GURrURbOq5429WY-SePiRjlV2GV5NAGaV4ZZXLRr_X84lw/s640/Untitled-1.jpg" width="640" /></a></div>
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Along the top you see 3 swatches of color. These represent averaged tones taken directly from the finished piece. Directly underneath them, you see 3 grey values (A, B, and C). These are the same colors from the top line desaturated so as to see value only. Below that, I plotted A, B, and C against the Munsell value chart. You can see that the entirety of my painting occupies roughly three value steps on the Munsell chart (from 6 to 9). No white, and nothing at all on the lower half of the chart.<br />
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Some more detail photos...<br />
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com9tag:blogger.com,1999:blog-729872479519980598.post-70979065584962564462016-10-11T09:58:00.002-04:002016-10-13T06:07:40.018-04:00I bet you a million dollars you fail this color test<div class="p1">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiMMqGnS6Tr5WcRzfSuLmrX7DWn-M5SbwPlYomzjXfZPqUY3uNDBpI5cyDR1Z42hgn0muRIn4FU2A3VMFZ9E8_lLnLE_f2RUksDfpyX0QjwwLN9rICeKNDGvKwnCmHOYEUMudQg8LMkI/s1600/Beau+Lotto+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiMMqGnS6Tr5WcRzfSuLmrX7DWn-M5SbwPlYomzjXfZPqUY3uNDBpI5cyDR1Z42hgn0muRIn4FU2A3VMFZ9E8_lLnLE_f2RUksDfpyX0QjwwLN9rICeKNDGvKwnCmHOYEUMudQg8LMkI/s640/Beau+Lotto+4.jpg" width="640" /></a></div>
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<span class="s1">The human eye is as good a camera as can be made from a scrap of meat and a dash of jelly, but our ever-distrustful brain works hard to overrule our eyes at every turn. "Grass is green," our brain tells us. Our eyes see something else, myriad shades across a spectrum, but they are mute. It's our brains that do all the talking. </span><br />
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<span class="s1">See the <i>blue</i> tiles on the top side of the big Rubik's cube on the <i>left</i>, above? Ok; how about the <i>yellow</i> tiles on top of the <i>right</i> Rubik's cube above? They are the same color. You're not seeing blue on the left, nor are you seeing yellow on the right. What your eyes are actually seeing is the same color. It's your brain that has created a difference. If there was ever proof that seeing happens in your brain and not in your eyes, this is it.</span><br />
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<span class="s1">The test was to see them both as the same, and you failed. So I'll be spending my million dollars on cocaine and nose jobs, in that order.</span><br />
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<i>Harry Chapin ruined family car-trips across the world with "Flowers are Red..."</i></div>
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<i>but he certainly made an impact. I still remember all the damn words. [<a href="https://youtu.be/4cVpkzZpDBA" target="_blank">video link</a>]</i></div>
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<span class="s1">What on earth is going on in our brains? </span><a href="http://www.dianeackerman.com/" target="_blank">Diane Ackerman</a> explains in <i><a href="https://www.amazon.com/Natural-History-Senses-Diane-Ackerman-ebook/dp/B0067AHQXQ?ie=UTF8&btkr=1&ref_=dp-kindle-redirect" target="_blank">A Natural History of the Senses</a>.</i> <span class="s1">"We are not really cameras. Our eyes do not just measure wavelengths of light. As Edwin Land, inventor of the Polaroid Land Camera and instant photography, deduced, we judge colors by the company they keep. </span>We compare them to one another, and revise according to the time of day, light source, memory." </div>
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<span class="s1"><a href="https://www.ted.com/talks/beau_lotto_optical_illusions_show_how_we_see?language=en#t-8986" target="_blank">Beau Lotto</a>, founder of Lottolab, a hybrid art space and scientific laboratory, investigates the crossover between what our eyes apprehend and what our brain perceives when it comes to color. Watch his fascinating TED talk <a href="https://youtu.be/mf5otGNbkuc" target="_blank">here</a>, if you haven't already seen it. He's produced some incredible graphics that fool the eye so completely that I had to check in Photoshop using the eye-dropper tool to make sure I wasn't losing my mind (including the three color tests reproduced here).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LZ3UlpofcINKQLMVhqg_d7cpx-ZQbOfcR28SCfOpWH-4E9XsP0orBV8t7wlWMjn6Pmo7QSLvDceVyRlI_lKrx5iRwLbNvx2Q5NeyROSDqWl67o5LwNZEqlapfizc2R5dxiWiYsjWGiE/s1600/Beau+Lotto+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LZ3UlpofcINKQLMVhqg_d7cpx-ZQbOfcR28SCfOpWH-4E9XsP0orBV8t7wlWMjn6Pmo7QSLvDceVyRlI_lKrx5iRwLbNvx2Q5NeyROSDqWl67o5LwNZEqlapfizc2R5dxiWiYsjWGiE/s640/Beau+Lotto+3.jpg" width="640" /></a></div>
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<span class="s1">In the Image above for example, how would you feel if I told you that the x-shaped piece at the center of both of these building block contraptions is <i>the same color</i>? On the left it looks blue, and on the right it looks yellow, but all of that is happening in your head based on assumptions your brain is making about the environment surrounding each x-shaped piece. In fact, they are both standard 50% grey, and not a "color" at all. Bring that image into Photoshop and check if you don't believe me.</span><br />
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<span class="s1">Lotto explains in his TED talk that the perceptual function of color, not surprisingly, has a basis in evolution. It's a point with which Ackerman agrees in her book. </span><span class="s1">"Every college student at one time or another has asked what it means to know something," she says, "and whether </span>there are simple perceptual truths that people share. We watch color television because our ancestors had eyes cued to the ripening of fruit; and they also had to be wary of poisonous plants and animals (which tend to be brightly colored)."<br />
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<span class="s1">At dusk, we still see a <i>blue</i> mailbox or a <i>red</i> car, but they are everything but. "</span>Even though it's sunset and the quantity, quality, and brightness of light have all diminished, we still perceive the blue mailbox as blue, the red car as red." Conceptual categories like <i>Red</i> and <i>Blue</i> lump disparate phenomena together, such as a flower "hit by glare, rinsed with artificial light, saturated with pigment, or gently bathed in moonlight."</div>
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<span class="s1">"Otherwise, our ancestors wouldn't have been able to find food at sunset or on overcast days. The eye works with ratios of color, not with absolutes. Land was not a biologist, but a keen observer of how we observe, and his theory of color constancy, proposed in 1963, continues to make sense. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik-_89MxGm5tTOGpvGxKYtLVSRgyzLR5ht0guTKWS8LIerme6zRRlNx5z51j70fcV0ydFZ610aYlc_1qhJwBL5ReYScpZDVEJK2KN0w6HhyphenhyphenbEvELVFel-mqD9QZeivdy2uxWAahy2lXuY/s1600/DressIllusion_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik-_89MxGm5tTOGpvGxKYtLVSRgyzLR5ht0guTKWS8LIerme6zRRlNx5z51j70fcV0ydFZ610aYlc_1qhJwBL5ReYScpZDVEJK2KN0w6HhyphenhyphenbEvELVFel-mqD9QZeivdy2uxWAahy2lXuY/s640/DressIllusion_3.jpg" width="624" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>brown</i> tile on the top and the <i>orange</i> tile on the side are in fact the same color.</td></tr>
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<span class="s1">In the end, perhaps the words we use to describe colors have more to do with the idiosyncrasies of the particular culture in which we are raised than a relationship to what's actually out there. "Not all languages name all colors. Japanese only recently included a word for <i>blue</i>," continues Ackerman. "In past ages, <i>aoi</i> was an umbrella word that stood for the range of colors from green and blue to violet. Primitive languages first develop words for black and white, then add red, then yellow and green; many lump blue and green together, and some </span>don't bother distinguishing between other colors of the spectrum. <span class="s1"></span></div>
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<span class="s1">"Because ancient Greek had very few color words, a lot of brisk scholarly debate has centered around what Homer meant by such metaphors as the "wine-dark sea" Welsh uses the word <i>glas</i> to describe the color of a mountain lake, which might in fact be blue, gray, or green. In Swahili, <i>nyakundu</i> could mean brown, yellow, or red. The Jalé tribespeople of New Guinea, having no word for green, are content to refer to a leaf as dark or light. </span></div>
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<span class="s1">"Though English sports a fair range of words to distinguish blue from green (including azure, aqua, teal, navy, emerald, indigo, olive), we frequently argue about whether a color really should be considered blue or green, and mainly resort to similes such as grass green, or pea green. The color language of English truly stumbles when it comes to life's processes."</span></div>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com3tag:blogger.com,1999:blog-729872479519980598.post-51222131495847452692016-07-13T01:10:00.003-04:002016-07-13T18:59:00.405-04:00Fractal Geometry in African Villages: Lessons from an Outsider<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITFVyAa85HnHffHcec84usCGY_QfTjMj4UDL9JnFGGOfQxmhs209TPhI0pdvOJYQ-pY9VNll27VR8jDmzCTMxNochwgTHnPXQV-Ej8CfNTddxiIo0ljsOkX1wwXWBGdmMfruMwOqmdJE/s1600/U_58_374138642418_superstudio04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgITFVyAa85HnHffHcec84usCGY_QfTjMj4UDL9JnFGGOfQxmhs209TPhI0pdvOJYQ-pY9VNll27VR8jDmzCTMxNochwgTHnPXQV-Ej8CfNTddxiIo0ljsOkX1wwXWBGdmMfruMwOqmdJE/s640/U_58_374138642418_superstudio04.jpg" style="cursor: move;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: start;">In the 1960s, the Italian architecture firm </span><i style="text-align: start;">Superstudio</i><span style="text-align: start;"> proposed the eradication of all architectural difference under a ubiquitous grid that they called a "Model for Total Urbanization." This is one of their posters.</span></span></td></tr>
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"The exception proves the rule." How many times have we heard that without really understanding it? It was Cicero in ancient Rome who first said it, and what he implied was that exceptions presuppose the existence of a norm (to which they are the exception). We always look to outsiders, the exceptions to the rule, to help define ourselves as normal. Outsiders have always defined insiders. An old military adage says that you need a great enemy to create a great army. For ancient Greece, it was the Spartans and Macedonians who provided the "savage" exception that proved the superiority of the civilized Athenian <i>polis</i>, or city-state. For the West, a monstrous "other" occupying the rest of the world provided evidence of the dubious superiority of its own worldview.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyr-5cvTB89md0Zh-f2dRqMBnoWDiBHe8w5Ohq3Kt2xBMxXZtByYTd7YmpR_gMbtJiULkQ28C6OcXQ-gxcmKGus9_Ta_en_7lrMVCkqKLMjTH_PaGNfVuUWp8RE6CiHmQ2KGEBUJQ0d90/s1600/Fra_Carnevale_-_The_Ideal_City_-_Walters_37677.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyr-5cvTB89md0Zh-f2dRqMBnoWDiBHe8w5Ohq3Kt2xBMxXZtByYTd7YmpR_gMbtJiULkQ28C6OcXQ-gxcmKGus9_Ta_en_7lrMVCkqKLMjTH_PaGNfVuUWp8RE6CiHmQ2KGEBUJQ0d90/s640/Fra_Carnevale_-_The_Ideal_City_-_Walters_37677.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Western gridded "ideal city," as imagined by Fra Carnevale</td></tr>
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In popular imagination, the <i>exceptions</i> to Western civilization still represent everything uncivilized, chaotic and savage in the world. When <a href="https://en.wikipedia.org/wiki/Orientalism_(book)" target="_blank">Edward Said</a> and <a href="https://en.wikipedia.org/wiki/Claude_L%C3%A9vi-Strauss" target="_blank">Claude Levi-Strauss</a> came along in the '60s and pointed out that, hey, just because other cultures are different doesn't mean that they are devoid of their own internal logic and structure, we began to open our eyes to the fact that maybe, in the end, we had something to learn from "them." We'd gotten so blind to the veil we've fabricated as a frontier between city/country, order/chaos, insider/outsider, West/Rest, that we'd lost sight of the fact that ours is just one of many ways of being in the world, and that the veil is an illusion.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaOalJiBX9LAjF0gcg3vFYdvBhB9qmoV8xS0Qd9pO1J6mRQfYV2GeUrZQvccHHZd3nxfgTI_lFO_LL8qfqpiyLZiNQEGsGe-g_qfsKY1nw319_IxtHkffyUybkHBK5mNIE23jluViO0o/s1600/lead_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaOalJiBX9LAjF0gcg3vFYdvBhB9qmoV8xS0Qd9pO1J6mRQfYV2GeUrZQvccHHZd3nxfgTI_lFO_LL8qfqpiyLZiNQEGsGe-g_qfsKY1nw319_IxtHkffyUybkHBK5mNIE23jluViO0o/s640/lead_large.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Somewhere in America</td></tr>
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Case in point: the gridded and bordered modern city that sprang up in Europe towards the end of the Roman Empire - with its straight lines and corners retained by a circumscribing wall - quickly became the template for Western life. They were initially walled defensive positions (called <i>Oppida</i>), but the Romans soon became aware of their greater (in the long run) symbolic significance: The walled city is a locus of power. Those outside the walls were the medieval "wildmen," or savages beneath consideration. It established a clear - if fictional - boundary between the order of Man and the chaos of Nature.<br />
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The Universe is Euclidean, its rigid geometry tells us. The very linearity of modern cities came to represent the mythic Western advancement from barbarian to citizen, from chaos to order. The more squared-off the space, the more civilized its occupant. The barbarians lived outside the <i>polis</i> amid the chaos of nature, and "Nature," as Katherine Hepburn reminded Bogart in <i>African Queen</i>, "is what we are put in this world to rise above." Consequently, linear gridded space became the Western standard.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VWc_wOgAGGhtScA5nhGE39x-vXho9w89vFLZkWGtr-9ksF6n1EdOoT3y2xP9WMkDQ_nlJbYBWhyphenhyphen3YhMSqcPb_spOMzrHOcJOMNG_cNuU90ojwDyUsqyoYNCXvOTWrPdrP6h92MDUEjA/s1600/startrekborg42.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0VWc_wOgAGGhtScA5nhGE39x-vXho9w89vFLZkWGtr-9ksF6n1EdOoT3y2xP9WMkDQ_nlJbYBWhyphenhyphen3YhMSqcPb_spOMzrHOcJOMNG_cNuU90ojwDyUsqyoYNCXvOTWrPdrP6h92MDUEjA/s640/startrekborg42.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hardly a coincidence that Star Trek automatons, "The Borg," occupy a cube.</td></tr>
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By the 15th Century, <a href="https://en.wikipedia.org/wiki/Leon_Battista_Alberti" target="_blank">Linear Perspective</a> gained favor as a way of reifying what had already become a pervasively geometric worldview, literally set in stone by the Romans. Perspective appealed to rich patrons because it backed up their notions of the hierarchy of social power (think majestic cathedrals with impossibly soaring <i>trompe l'oeil </i>ceilings inspiring awe among the plebs). Artists of Europe clamored to learn the rules of Linear Perspective as a way of codifying a "civilized" worldview, which flattered their clients by portraying them as higher-order citizens. Even if anyone had been aware of another way of seeing the world, they wouldn't have cared for it. West is best, and all that.<br />
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Every day I walk the streets of New York City, I'm aware that to get across town means zig-zagging at right angles across an artificially imposed grid that by its very <i>inorganicness</i> was designed to position the works of man as superior to those of nature.<br />
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What would an alternative even look like? We're so used to what we've got that it's hard to picture it, but we don't have to: When the <a href="http://www.crystalinks.com/fractals.html" target="_blank">fractal geometry</a> of African villages was "discovered" by the West, it provided the exception that exposed the tenuousness of the norm we've come to accept. Certain villages in Africa (such as <a href="http://www.amusingplanet.com/2013/01/decorated-mud-houses-of-tiebele-burkina.html" target="_blank">Tiébelé</a> on the Ghanian border) have been organizing themselves for centuries according to mathematical principles that were only discovered in the West in the 1900s.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhukuj7cYCV1AS4W7CR-VRoAlgPBfG3ajK0At42bksiNY_ShIR_Q_PbLFgk4YuAwU1ybaf_GYyKu4OfKyoUE7wj2K0f38vl4ZbiyOmGX62tL-Jk6XZPztuSowTyqMccJQDfo0pY7PBxNvo/s1600/Mandel_zoom_00_mandelbrot_set.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhukuj7cYCV1AS4W7CR-VRoAlgPBfG3ajK0At42bksiNY_ShIR_Q_PbLFgk4YuAwU1ybaf_GYyKu4OfKyoUE7wj2K0f38vl4ZbiyOmGX62tL-Jk6XZPztuSowTyqMccJQDfo0pY7PBxNvo/s640/Mandel_zoom_00_mandelbrot_set.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The classic <a href="https://en.wikipedia.org/wiki/Mandelbrot_set" target="_blank">Mandelbrot</a> fractal set</td></tr>
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Whereas the Western gridded <i>polis</i> denies Nature by proposing space as a system of stackable finite blocks, fractal architecture suggests an unfolding of space according to principles of organic growth. Each unit of fractal geometry relates intrinsically to its neighbor, regardless of scale. There is no frontier, no hierarchy of space as in the West.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldQiy0BN2UPiUUl5t6GOOQCmqcGDmFZzgFfsvdI4-8Xido6V_dhNSUCv-gzUIq9UITU4WOZRxYADNQz5DYSc4wNOgbNzUZDESk8UwwQPZuYAk_WBg9-fCpF8NMr34gszjbdEZ1svEBJQ/s1600/8247962.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldQiy0BN2UPiUUl5t6GOOQCmqcGDmFZzgFfsvdI4-8Xido6V_dhNSUCv-gzUIq9UITU4WOZRxYADNQz5DYSc4wNOgbNzUZDESk8UwwQPZuYAk_WBg9-fCpF8NMr34gszjbdEZ1svEBJQ/s640/8247962.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fractal sets are everywhere in Nature</td></tr>
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Fractal architecture could never produce a Versailles, for example, that so self-consciously set itself apart from the populace that surrounded it. The "self-similarity" of fractal geometric modules would preclude it. Western architecture relies on the grid as an exclusionary device - you are either inside or outside the square - but fractal architecture seems to suggest that we all have the same potentiality.<br />
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<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" scrolling="no" src="https://embed-ssl.ted.com/talks/ron_eglash_on_african_fractals.html" webkitallowfullscreen="" width="640"></iframe>
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I always worry that I'm writing too much in blog posts, that they're too long (because who the hell reads blog posts?), so I won't be getting into the weeds about what fractals are, except to say that they began as an outlier set of mathematical rules once considered to be useless oddities - Euclid's outsiders.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfhfbiAdzMNH2M4Ipc5J-qqw60BEtifrcQQsJt_DBmT3YuWLAye1HiIup5nbwvY7pVSL4icGRe_pg3tlF5YjnHuuUvf_w45cPznsK69yE4uiG6ap_iqGEtAx1edC_Y5-R8s4WWeK2NNU/s1600/ba-ila-africa-fractal-design-of-the-village.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfhfbiAdzMNH2M4Ipc5J-qqw60BEtifrcQQsJt_DBmT3YuWLAye1HiIup5nbwvY7pVSL4icGRe_pg3tlF5YjnHuuUvf_w45cPznsK69yE4uiG6ap_iqGEtAx1edC_Y5-R8s4WWeK2NNU/s640/ba-ila-africa-fractal-design-of-the-village.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The fractal architecture of Ba-ila village, in Southern Zambia</td></tr>
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The realization that whole communities live according to a spatial map that is entirely different to ours was an eye-opener. Watch this <a href="https://www.ted.com/talks/ron_eglash_on_african_fractals?language=en" target="_blank">TED talk</a> (and buy the <a href="https://www.amazon.com/African-Fractals-Modern-Computing-Indigenous/dp/0813526140?ie=UTF8&redirect=true&tag=africanfractalsw" target="_blank">book</a>) by this fascinating <a href="http://homepages.rpi.edu/~eglash/eglash.htm" target="_blank">mathematician</a> who traveled Africa on a Fulbright scholarship, standing on rooftops and recording the fractal geometry he saw all around him. And next time you're sitting at a traffic light, imagine a world that has no right angles.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAuur9XGenoGuJF7cbFV8R6fsrDbWLD-rqPEpFv3voVmqGuPc_RXcyRZESu9yknFTXy395nLZhsFqXdsPdB194Ojvdv0Q4yQu6ziZZ3yyVCPcqOkn4a2WXkvnF3vnm2A5Ci_CcAlNMy4/s1600/african-fractals.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilAuur9XGenoGuJF7cbFV8R6fsrDbWLD-rqPEpFv3voVmqGuPc_RXcyRZESu9yknFTXy395nLZhsFqXdsPdB194Ojvdv0Q4yQu6ziZZ3yyVCPcqOkn4a2WXkvnF3vnm2A5Ci_CcAlNMy4/s640/african-fractals.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ron Eglash mapped the fractal set at the heart of community life for Ba-ila villagers</td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuu6EoWlhesgdpYpLMhOJ8rsjm8K99e2XPGrvWcUNaXQoHSTiiCKaD5a8iM7iSNv_kc3WXXVjQZOWmtH_C3siC7o0FxScQqkPtfCXk1aXoOf0h8flcuSh-RMbA3R3DH8fpTO3i5AnyEi4/s1600/tiebele-0%255B2%255D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuu6EoWlhesgdpYpLMhOJ8rsjm8K99e2XPGrvWcUNaXQoHSTiiCKaD5a8iM7iSNv_kc3WXXVjQZOWmtH_C3siC7o0FxScQqkPtfCXk1aXoOf0h8flcuSh-RMbA3R3DH8fpTO3i5AnyEi4/s640/tiebele-0%255B2%255D.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Tiébelé, Ghana</td></tr>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com55tag:blogger.com,1999:blog-729872479519980598.post-72259897138100119392016-03-14T12:12:00.002-04:002016-03-14T17:55:16.695-04:00How to Paint Reflections on Water<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia4O__CFhtkU6FahyaHQB8OHHei-wia7BnboyCCjrjGytaIsnOGp8V8zeR7u46PauUe3I0N6kdebGDbCQSag6nW17UNcwkio-r01TSd6ZiaxXOpMgB2o9JtUsaFkHYlRB7ardfEl7BU0A/s1600/Sommarno%25CC%2588je_%25281886%2529%252C_akvarell_av_Anders_Zorn-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia4O__CFhtkU6FahyaHQB8OHHei-wia7BnboyCCjrjGytaIsnOGp8V8zeR7u46PauUe3I0N6kdebGDbCQSag6nW17UNcwkio-r01TSd6ZiaxXOpMgB2o9JtUsaFkHYlRB7ardfEl7BU0A/s640/Sommarno%25CC%2588je_%25281886%2529%252C_akvarell_av_Anders_Zorn-1.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sommarnoje, Anders Zorn</i><br />
showing lengthened and broken reflections beneath the boat and pier.</td></tr>
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The post title is a tad misleading, as it is more about <i>seeing</i> and <i>understanding</i> than painting. Why do reflections appear longer in rippled water compared to smooth water? Why do reflections not appear at all in very rough water? Is there any quantifiable way for painters to measure the correct length of reflections, besides just painting a bunch of wiggly lines?<br />
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And if you feel like a little musical accompaniment while you wrap your head around some math, try Claude Debussy's "<a href="https://www.youtube.com/watch?v=nnnKmQ-wXZw" target="_blank">Reflections in Water</a>."<br />
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I'm going to let my illustrations do most of the talking in this post. I hope that they're clear enough that you will be able to understand the principles just by studying them.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9CdrKQmjsSfF_n1s2gwHo-xLxMJiAsXrhIvccu-YgtGEtUBJEd_oO4nR4VdEL5B1qsyYnaAs5sj7kSPDgSIFnqQtHD_09ebdjkYnN0rVQ0Kmtut-7lwuAHnONIIpW7VvDGBF0ZfvE53E/s1600/reflections+in+water1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9CdrKQmjsSfF_n1s2gwHo-xLxMJiAsXrhIvccu-YgtGEtUBJEd_oO4nR4VdEL5B1qsyYnaAs5sj7kSPDgSIFnqQtHD_09ebdjkYnN0rVQ0Kmtut-7lwuAHnONIIpW7VvDGBF0ZfvE53E/s640/reflections+in+water1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Figure 1</i></td></tr>
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In <i>Figure 1</i> above, there is a pole [<i>AB</i>] standing out of the water. You can imagine looking at it along sight lines that run through an imaginary picture plane. The top of the pole intersects the picture plane (the canvas you're painting on) at point <i>A1</i>. The visible bottom of the pole above the water would appear on your canvas at point <i>B1</i>. If the surface of the water was as smooth as a mirror, the reflection of your pole on the water would be painted on your canvas extending down to point <i>C1</i>. Notice too that the angles <i>x, y</i>, and <i>z</i> are the same when on a perfectly flat surface.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIwrD45xuLDkjEpmlxurkSxmIlQk1IjJWSuAerLT07t7KEGGRhZv-klEe2sF2fl5rF2-YTh11kuCAZlwb6gUSFMcEJSyZu_A81DKSZ0WmZMSyWVUjlehIXVidIWcvnbcN-N9CpZ5Llagg/s1600/reflections+in+water2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIwrD45xuLDkjEpmlxurkSxmIlQk1IjJWSuAerLT07t7KEGGRhZv-klEe2sF2fl5rF2-YTh11kuCAZlwb6gUSFMcEJSyZu_A81DKSZ0WmZMSyWVUjlehIXVidIWcvnbcN-N9CpZ5Llagg/s640/reflections+in+water2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Figure 2</i></td></tr>
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If there was a concrete pier as in <i>Figure 2</i>, the reflections would end up looking as they do in <i>Figure 3</i>, below. Note the reflection of the pole in the water below. If you study Figure 2 you will understand why the reflection simply peeks out a short length below the pier reflection instead of appearing to be the full length of the pole itself.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQam439x8UuPQQ53GWNs1AhNW4CA7k0otmCg7Ts4c-dAWQkGJm5Mj-K9nsY6pZq27Ie8e38KkxH4nD9UztH0tcmmar1W_RKufrI_SzGncEVsHbiZ1b-uhMU7dHrdsxGrAnKO_OA6hxd1k/s1600/reflections+in+water3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQam439x8UuPQQ53GWNs1AhNW4CA7k0otmCg7Ts4c-dAWQkGJm5Mj-K9nsY6pZq27Ie8e38KkxH4nD9UztH0tcmmar1W_RKufrI_SzGncEVsHbiZ1b-uhMU7dHrdsxGrAnKO_OA6hxd1k/s640/reflections+in+water3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Figure 3</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-MmNxQSdHSMFuyrc_WW2GO_8Lq9YvrG9VicCHR7LSepMPRNYTTB4mytIkaZvZb4r-dY-ZfeBZyLrdhPBUd5oyqPTHTWBOFUymxM6sHhrv46nndwZEFiFGQxksQgwJhc6ll5r85vhZP0/s1600/Untitled10.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-MmNxQSdHSMFuyrc_WW2GO_8Lq9YvrG9VicCHR7LSepMPRNYTTB4mytIkaZvZb4r-dY-ZfeBZyLrdhPBUd5oyqPTHTWBOFUymxM6sHhrv46nndwZEFiFGQxksQgwJhc6ll5r85vhZP0/s640/Untitled10.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Fur Traders descending the Missouri, George Caleb Bingham</i></td></tr>
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In the beautiful painting by Anders Zorn that opens this post, we see that the reflection of the boat extends downwards quite a bit below where one might expect. Why? Simply because water is never as smooth as it appears in our illustrations above. Despite what Caleb Bingham might have us believe (above), water almost always has some visible movement causing ripples or waves. These waves cause the reflections to distort and extend lower on the canvas.<br />
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The reflection of a pole in rippled water [<i>Fig. 4</i>] would thus appear to extend in a broken line all the way down our canvas to point <i>D1</i>. I hope that by studying the next couple of illustrations you can understand the effect of broken water conditions upon reflections.</div>
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In addition, rougher bodies of water appear to be brighter overall than smooth bodies of water. The fascinating reason has something to do with Galileo, and can be found in a separate blogpost, <a href="http://surfacefragments.blogspot.com/2014/08/q-why-is-sky-brighter-over-sea-when-its.html" target="_blank">here</a>.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwpKjylRM6vqTkrHLcUP1B6v3T9vTfMqVaOeCDWwnmKlyFm3S9ANdggGLuj2typuMexlHM-kxwuKs5gBzUn3XVqXYCjV7g6MvA3r1OoaBpMKWFpRgij5sjSHfX8QJ2rZ6rlfIQDt8r4R8/s1600/reflections+in+water4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwpKjylRM6vqTkrHLcUP1B6v3T9vTfMqVaOeCDWwnmKlyFm3S9ANdggGLuj2typuMexlHM-kxwuKs5gBzUn3XVqXYCjV7g6MvA3r1OoaBpMKWFpRgij5sjSHfX8QJ2rZ6rlfIQDt8r4R8/s640/reflections+in+water4.jpg" width="594" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Figure 4</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikiWhz5YZX0Xb-t4nFObSZ0d7_4SBFrBJLvQvscsafUtLJgTRChDtP6Td3wMDd67I6DMTaLV7nhGLKRDwaPGHMhjNCPdSzNCq93j2OtFltFxQYPxJMNOu1PioaONV6vGC_Idu7jQngtE/s1600/The+Champion+Single+Sculls+%2528Max+Schmitt+in+a+Single+Scull%2529+Thomas+Eakins.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgikiWhz5YZX0Xb-t4nFObSZ0d7_4SBFrBJLvQvscsafUtLJgTRChDtP6Td3wMDd67I6DMTaLV7nhGLKRDwaPGHMhjNCPdSzNCq93j2OtFltFxQYPxJMNOu1PioaONV6vGC_Idu7jQngtE/s640/The+Champion+Single+Sculls+%2528Max+Schmitt+in+a+Single+Scull%2529+Thomas+Eakins.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Champion Single Sculls (Max Schmitt), by Thomas Eakins</i></td></tr>
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Thomas Eakins, famously mathematical when it came to constructing his paintings, drew an illustration [<i>Fig. 5</i>] in one of his notebooks that shows why the reflections in rippled water appear "wiggly."</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoZdNbWJywUdtyvp4TOkLRy9O9FGq9xGdLYrkeKiUVT3FIbc4JwWLweBVbnLKEivug1OM0rMCHNfKcbKWXgdGMHz0WCCU4O475iXxoj-bE9-lp1ZST8XITMQLVmOt43dhoMemUlku-l60/s1600/Eakins_Reflection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoZdNbWJywUdtyvp4TOkLRy9O9FGq9xGdLYrkeKiUVT3FIbc4JwWLweBVbnLKEivug1OM0rMCHNfKcbKWXgdGMHz0WCCU4O475iXxoj-bE9-lp1ZST8XITMQLVmOt43dhoMemUlku-l60/s640/Eakins_Reflection.jpg" width="580" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Figure 5</i></td></tr>
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I've created my own version of the same phenomenon [<i>Fig. 6</i>], with some added notes that might help clarify what's happening.</div>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com9tag:blogger.com,1999:blog-729872479519980598.post-59697249821856997862016-01-03T15:29:00.002-05:002016-01-04T11:00:40.318-05:00The Quadratura of Francesco Natali<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6Vb_Ln4WJIeyq9wXoLh_XZaaz7BsS_UkycamsWIkmat_v56WYmZU_myIZUeyb83mxBoj-JuEO5zV1VrY81gnuF3TGL0kv2b5fXPCwjXw7Nrfz58_T10g-FLutN-L0p0F8iIOdeImf7g/s1600/Chiesa+SS+Anunziata_010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6Vb_Ln4WJIeyq9wXoLh_XZaaz7BsS_UkycamsWIkmat_v56WYmZU_myIZUeyb83mxBoj-JuEO5zV1VrY81gnuF3TGL0kv2b5fXPCwjXw7Nrfz58_T10g-FLutN-L0p0F8iIOdeImf7g/s640/Chiesa+SS+Anunziata_010.jpg" width="640" /></a><br />
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Francesco Natali created these wonderful baroque quadratura and wall frescos in a little church in Pontremoli, Italy. I'd hoped to write a lengthier post about this church, its fabulous history, and the charming work of this lesser known Italian artist, but I think you'd rather just see the photos. So here they are.<br />
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I uploaded a ton more photos of the Church on my Flickr page, <a href="https://www.flickr.com/gp/surfacefragments2/Bi478m" target="_blank">here</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4UjzdC1CJVD2KyqSvSu6eP33Q1NaB3pCyivf-MIwzu9qC1qPkXP-rgX2619MpUgc2aERRgdwyGx9ZAwB95BhWBEvoyx44WCmvneiJ8uacq62H5_X0j40lEWIFs-KI0xue0jAzFipow4/s1600/IMG_8790.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV4UjzdC1CJVD2KyqSvSu6eP33Q1NaB3pCyivf-MIwzu9qC1qPkXP-rgX2619MpUgc2aERRgdwyGx9ZAwB95BhWBEvoyx44WCmvneiJ8uacq62H5_X0j40lEWIFs-KI0xue0jAzFipow4/s640/IMG_8790.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Remove the stone lintel in the small niche (above) and it reveals a deep crawl space used to secrete <br />
dissidents and refugees during World War II.</td></tr>
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Incidentally, this church weathered Allied bombardment and was even liberated by the Buffalo Soldiers, America's historic all-Black Infantry (originally Cavalry) division in World War II. They stormed the town only to free a group of jews hidden in a specially-designed crawl space disguised behind one of Natali's decorative niches in the church sacristy (photo above).<br />
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com7tag:blogger.com,1999:blog-729872479519980598.post-5131825335212932312015-10-02T15:37:00.001-04:002015-10-02T15:38:49.931-04:00The Black Paintings of Goya<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDFsxcsx_DpfrHFfWueibmSplqgN0ho3MpQXjCrd4Ds8upxyhb-vYwLUCS07ulGfEPSv-YDWNbM2D3fdpb8yxEVc7EgWgqMK-Kc4qW6omnenPZIrWGKGmFi2lGk8BmZbFVioRPOcJq1g/s1600/Vision_fanta%25CC%2581stica_o_Asmodea_%2528Goya%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDFsxcsx_DpfrHFfWueibmSplqgN0ho3MpQXjCrd4Ds8upxyhb-vYwLUCS07ulGfEPSv-YDWNbM2D3fdpb8yxEVc7EgWgqMK-Kc4qW6omnenPZIrWGKGmFi2lGk8BmZbFVioRPOcJq1g/s640/Vision_fanta%25CC%2581stica_o_Asmodea_%2528Goya%2529.jpg" width="640" /></a></div>
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<div class="p1">
<span class="s1">"In 1814 Ferdinand VII posed for Francisco de Goya. There was nothing unusual in that. Goya, court painter for the Spanish Crown, was doing a portrait of the new monarch. But artist and king detested each other. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p2">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLjBYzeWuhRG0Jl6dL_6lNhg5kl2HXBmNn15ZahTocdDbhIvry_uI-wipgycU8kLwbz47kMz2UkZwy4Khuz4kzlqj1soaJIatoba6WSz7IJOW2S3D8Rqst2E_0jPw8MoudVuxZRAK2gg/s1600/Francisco_de_Goya%252C_Saturno_devorando_a_su_hijo_%25281819-1823%2529_crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLjBYzeWuhRG0Jl6dL_6lNhg5kl2HXBmNn15ZahTocdDbhIvry_uI-wipgycU8kLwbz47kMz2UkZwy4Khuz4kzlqj1soaJIatoba6WSz7IJOW2S3D8Rqst2E_0jPw8MoudVuxZRAK2gg/s640/Francisco_de_Goya%252C_Saturno_devorando_a_su_hijo_%25281819-1823%2529_crop.jpg" width="542" /></a></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">The king suspected, and with good reason, that Goya's court paintings were disingenuously kind. The artist had no choice but to do the job that earned him his daily bread and provided an effective shield against the enmity of the Holy Inquisition. There was no lack of desire on God's tribunal to burn alive the creator of <i>La Maja Desnuda</i> and numerous other works that mocked the virtue of priests and the bravery of warriors. </span></div>
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<span class="s1"></span><br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjelt0yoUs07I_D0T7hEhTKL5LTzRArpbjyswP0aumb2Ya473EFy7TdetrGJ-9BKFSyLvVrEHNrsWJXVCDZkIfR_hAXzNU065jQRaJvggBHr2By5sukSE14F8sbqvLy8CMdYuoWe3nee-s/s1600/Goya_Maja_desnuda.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjelt0yoUs07I_D0T7hEhTKL5LTzRArpbjyswP0aumb2Ya473EFy7TdetrGJ-9BKFSyLvVrEHNrsWJXVCDZkIfR_hAXzNU065jQRaJvggBHr2By5sukSE14F8sbqvLy8CMdYuoWe3nee-s/s640/Goya_Maja_desnuda.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>La Maja Desnuda</i>, Francisco de Goya y Lucientes</td></tr>
</tbody></table>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">The king had power and the artist had nothing. It was to reestablish the Inquisition and the privileges of nobility that Ferdinand came to the throne borne on the shoulders of a crowd cheering: "Long live chains! </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Sooner rather than later, Goya lost his job as the king's painter and was replaced by Vicente Lopez, an obedient bureaucrat with a brush. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">The unemployed artist then took refuge in a country home on the banks of the Manzanares River, and on the walls he created the masterpieces known as the Black Paintings. </span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvdiRkPuJZg25r-B8WwCo1TgHm-kAxnBJ3kQkmrSkSFGFERxDSl4GmgS4acXbTJ95hFtuESns-JXeForkKTFfx6B1s2demOkwdjSv2Tk3R7NbxiGtrrFev9PYOB9u0CCjHbrdlbiKeIE/s1600/Atropos_o_Las_Parcas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvdiRkPuJZg25r-B8WwCo1TgHm-kAxnBJ3kQkmrSkSFGFERxDSl4GmgS4acXbTJ95hFtuESns-JXeForkKTFfx6B1s2demOkwdjSv2Tk3R7NbxiGtrrFev9PYOB9u0CCjHbrdlbiKeIE/s640/Atropos_o_Las_Parcas.jpg" width="640" /></a></div>
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<div class="p1">
<span class="s1">Goya painted them for himself, for his own pleasure or displeasure, in nights of solitude and despair. By the light of candles bristling on his hat, this utterly deaf man managed to hear the broken voices of his times and give them shape and color."</span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">- Excerpted from <i><a href="http://www.amazon.com/Mirrors-Stories-Everyone-Eduardo-Galeano/dp/1568586124" target="_blank">Mirrors: Stories of Almost Everyone</a></i>, by Eduardo Galeano</span></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com0tag:blogger.com,1999:blog-729872479519980598.post-21373181606723850172015-09-22T10:32:00.001-04:002015-09-22T10:32:09.383-04:00On Fragments<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6g5qg5KvKUsslLYIXc2IPZ6XcVcWiAMsmGHL-Xe6MkXVwPwaG1Jx7hH28F8XvG_WQ4n7L3ORihQuSaOiV0RNYFtJur1d7RkRsSHEAorD0j_17NVujN-qRp8xemU1YXbEpIDBdL8ke-a8/s1600/Elgin+Marbles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6g5qg5KvKUsslLYIXc2IPZ6XcVcWiAMsmGHL-Xe6MkXVwPwaG1Jx7hH28F8XvG_WQ4n7L3ORihQuSaOiV0RNYFtJur1d7RkRsSHEAorD0j_17NVujN-qRp8xemU1YXbEpIDBdL8ke-a8/s640/Elgin+Marbles.jpg" width="640" /></a></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
<span class="s1">"Phidias, the most envied sculptor of all time, died of a broken heart after his insufferable talent landed him a jail sentence. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Many centuries later, Phidias was punished again, this time by usurpation. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">His best works, the sculptures of the Parthenon, are no longer in Athens but in London. And they are called not the Phidias Marbles, but the Elgin Marbles.</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">Lord Elgin was not exactly an artist. As British ambassador a couple of centuries ago, he shipped these marvels home and sold them to his government. Since then, they sit in the British Museum. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">When Lord Elgin filched what he filched, the Parthenon had already been devastated by weather and war. Erected to the eternal glory of the goddess Athena, it endured the invasion of the Virgin Mary and her priests, who eliminated several figures, rubbed out many faces, and mutilated every penis. Many years later came the Venetian invasion and the temple, used as a powder house, got blown to pieces. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">The Parthenon was left in ruins. While the sculptures that Lord Elgin took were broken and remain so, they speak to us about what they once were: </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">that tunic is just a piece of marble, but in its folds sways the body of a woman or a goddess, </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">that knee walks on in the absent leg, </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">that torso, decapitated, bears an invisible head, </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p1">
<span class="s1">that bristling mane conveys the missing horse in full whinny, and those galloping legs how it thunders on. </span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<br />
<div class="p1">
<span class="s1">In the little there is, lies all that was."</span></div>
<div class="p1">
<span class="s1"><br /></span></div>
<div class="p1">
- Excerpted from <i><a href="http://www.amazon.com/Mirrors-Stories-Everyone-Eduardo-Galeano/dp/1568586124" target="_blank">Mirrors</a></i>, by Eduardo Galeano</div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com0tag:blogger.com,1999:blog-729872479519980598.post-72895569364104119692015-09-20T11:28:00.001-04:002015-09-20T21:17:17.393-04:00Life, The Matrix and Everything Part II<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejXB8enP6vJCINDenA-t5BbLOBMTw6UF_ebojtapZIbyl6QIap_JT4VMeZKfObavRNddp8OsL6yjjPLLvIVcJ_y9P9xFC7UVlaBsBs3K8AZHlrFMqIXh73n31Cr1o0lCGpRK-nwsV7M8/s1600/T.E.Lawrence_the_mystery_man_of_Arabia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejXB8enP6vJCINDenA-t5BbLOBMTw6UF_ebojtapZIbyl6QIap_JT4VMeZKfObavRNddp8OsL6yjjPLLvIVcJ_y9P9xFC7UVlaBsBs3K8AZHlrFMqIXh73n31Cr1o0lCGpRK-nwsV7M8/s640/T.E.Lawrence_the_mystery_man_of_Arabia.jpg" width="486" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Orientalism and cultural appropriation at its best;</span><br />
<span style="font-family: inherit;">T. E. Lawrence striking a suitably romantic pose.</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span style="font-family: inherit;"><span style="text-indent: 0.5in;"><span style="line-height: 150%;">I've been prattling on about outsiders and the role they play in our </span></span><span style="line-height: 24px; text-indent: 0.5in;">conception</span><span style="text-indent: 0.5in;"><span style="line-height: 150%;"> of self and reality. For anyone who's still with me, here is the second story that illustrates my point. It's a fascinating example of how we manufacture reality and create our idea of what is <i>normal</i>.</span></span></span></div>
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<span style="font-family: inherit;">It's recounted by <a href="https://en.wikipedia.org/wiki/T._E._Lawrence" target="_blank">T. E. Lawrence</a> ("Lawrence of Arabia") in his classic book, <i style="mso-bidi-font-style: normal;"><a href="https://en.wikipedia.org/wiki/Seven_Pillars_of_Wisdom" target="_blank">Seven Pillars of Wisdom</a></i>. While planning his next foray into what were the outer fringes of civilization from a Western standpoint, Lawrence was canny enough to know that he'd need to bring back a visual record of his travels among the wildmen who inhabited the uninhabitable desert.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWIeDYgSLw2F0t_m-4Rgd3knCCBNhyphenhyphengcAeASoQxZu8kjSLVI1OF-ytfh1uPgdYUi3SzV_XBhUZVAtnE4UnEcsOiDzJwCmUaOlbb2sQVb2vWKOieM0w4jRZatgquzURmKNwhkyRqqK5xpo/s1600/abd-el-rahman-by-eric-kennington-1921.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWIeDYgSLw2F0t_m-4Rgd3knCCBNhyphenhyphengcAeASoQxZu8kjSLVI1OF-ytfh1uPgdYUi3SzV_XBhUZVAtnE4UnEcsOiDzJwCmUaOlbb2sQVb2vWKOieM0w4jRZatgquzURmKNwhkyRqqK5xpo/s640/abd-el-rahman-by-eric-kennington-1921.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><i>Abd el Rahm</i>, by Eric Kennington <span style="font-size: 12.8px;">(1920)</span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit;"><span style="line-height: 150%; text-indent: 0.5in;">One day, he came across an artist called </span><a href="https://mydailyartdisplay.wordpress.com/" style="line-height: 150%; text-indent: 0.5in;" target="_blank">Eric Kennington</a><span style="line-height: 150%; text-indent: 0.5in;"> at
an exhibition of paintings created during World War I, when
the young artist had enlisted with the 13</span><sup style="line-height: 150%; text-indent: 0.5in;">th</sup><span style="line-height: 150%; text-indent: 0.5in;"> Battalion London Regiment and been sent
to fight on the Western Front. Kennington was a member of the Royal Academy and
an official artist commissioned by the British Government in both World Wars,
and was by all accounts a solid portraitist. Lawrence was so impressed by his
work that he invited Kennington on his next campaign into the desert in 1920,
where he painted numerous sensitive pastel and watercolor portraits of the characters
they ran into. </span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUyMl3g05QH-HuiaorU__dUp20LCHbHSStLwRfMGIb9YuraJ0WQIRbdVGrpTYD3neDFF5aYuH14giv4P4nyHdo1DdrKTokbKBsmRGEYMaCac-v8dE6yMgZmzQYHZLsTQmfY6LCX2NDTbw/s1600/muttar-il-hamoud-min-beni-hassan-by-eric-kennington-1920.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUyMl3g05QH-HuiaorU__dUp20LCHbHSStLwRfMGIb9YuraJ0WQIRbdVGrpTYD3neDFF5aYuH14giv4P4nyHdo1DdrKTokbKBsmRGEYMaCac-v8dE6yMgZmzQYHZLsTQmfY6LCX2NDTbw/s640/muttar-il-hamoud-min-beni-hassan-by-eric-kennington-1920.jpg" width="466" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Another of Kennington's indecipherable scrawlings, </span><br />
<span style="font-family: inherit;">this time of <i>Muttar Il Hamoud min Beni Hassan </i>(1920)</span></td></tr>
</tbody></table>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit; line-height: 150%; text-indent: 0.5in;">To the Western eye, they're beautiful and naturalistic renditions, but when Lawrence showed the Arabs their portraits, most of them
failed to recognize that they were images of men - let alone paintings of them! They
blinked and stared blankly, spun them around, flipped them upside down and
handed them back. One of them even hazarded a guess that it was a camel because the
line of the jaw looked like a hump. Lawrence and Kennington were gobsmacked. The two dusty, sun-burned white men were utterly alien
to their Arab hosts because the cultural signs of Western art were completely unintelligible, and therefore had no value whatsoever. </span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit; line-height: 150%; text-indent: 0.5in;"><br /></span></div>
<br />
<div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFzzW0p9A8rbCPpqlsPwduYgC1LmZ_agGX4iMwxB0VK-B6wcwwi1uCzavhx3gLnDSytWE_Mq_R1F91fSTuN9ewYmJCUuOy_KgLUf-Ej86aZgzjQXZe5t3NLfB4C6uQgxxuZvZJl5P4bf8/s1600/d-h-and-frieda-lawrence.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><span style="font-family: inherit;"><img border="0" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFzzW0p9A8rbCPpqlsPwduYgC1LmZ_agGX4iMwxB0VK-B6wcwwi1uCzavhx3gLnDSytWE_Mq_R1F91fSTuN9ewYmJCUuOy_KgLUf-Ej86aZgzjQXZe5t3NLfB4C6uQgxxuZvZJl5P4bf8/s640/d-h-and-frieda-lawrence.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">The peripatetic DH and Frieda Lawrence, mid exile.</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span>
</div>
<span style="font-family: inherit;">
</span>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Outsiders may enable us to see ourselves, but our desire to experience
alien-ness in the World is always conditioned by an instinct for self-preservation that keeps us within our comfort zone. It’s not really
the void we’re after, but a safe approximation. It’s like standing on the edge
of a cliff during a storm and watching the smashing of the waves against the black wall. All we really want is a quick selfie and a nice dry car to jump
back into. Only a madman would throw himself off the edge. </span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-family: inherit;">When the poet DH Lawrence went on his “savage
pilgrimage” - a self-imposed exile from 1919 to the end of his short life at the
age of 44 in 1930 - he was in search of fulfillment from a life outside
industrial western civilization. His wanderlust took him to Sicily, Ceylon,
Australia and eventually New Mexico. He found bits of what he wanted among the
peasants of Germany, Italy Mexico and India, but towards the end he grew disenchanted
with his “savages.” He even seemed genuinely surprised when it turned out that
“their consciousness is so different from ours that there’s scarcely any
possibility of communication.”</span> <span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_edn1" style="mso-endnote-id: edn1;" title="">[i]</a></span></span><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_edn1" title=""><!--[endif]--></a></span></span> <o:p></o:p></span></div>
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<span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference" style="font-family: inherit;"><br /></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij2z9U9FJ-68i1IRaUVnG5QPET99Q_1mhuN4ilThjueHysP-li8fqMEuh4YDzhOlezzGoXu4j2eCvK6SkHiIB3PTV4q-KHypC9CAaThyOdm1ULqRU6AdkaZoElpk_VqJy-CN7e7-0ikwc/s1600/quote-depression-is-a-disorder-of-mood-so-mysteriously-painful-and-elusive-in-the-way-it-becomes-known-william-styron-270492.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij2z9U9FJ-68i1IRaUVnG5QPET99Q_1mhuN4ilThjueHysP-li8fqMEuh4YDzhOlezzGoXu4j2eCvK6SkHiIB3PTV4q-KHypC9CAaThyOdm1ULqRU6AdkaZoElpk_VqJy-CN7e7-0ikwc/s640/quote-depression-is-a-disorder-of-mood-so-mysteriously-painful-and-elusive-in-the-way-it-becomes-known-william-styron-270492.jpg" width="640" /></span></a></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: .5in; text-autospace: none;">
<span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference" style="font-family: inherit;"><br /></span></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-layout-grid-align: none; mso-pagination: none; tab-stops: .5in; text-autospace: none;">
<span style="font-family: inherit;"><span style="mso-tab-count: 1;"> </span><span style="line-height: 150%; text-indent: 0.5in;">If the outsider
cannot render nature tame in our eyes, cannot “soothe our imagination,” then she
must at least be able to speak of its strangeness in a language we can
comprehend. Van Gogh spent years vacillating between desiring acceptance from
the Salon and railing against it. His search for a style meant tiptoeing the line
between being originality and commerce.* He couldn’t know that the actual myth he was
creating around himself centered on his tense temperamental </span><i style="line-height: 150%; text-indent: 0.5in;">dis</i><span style="line-height: 150%; text-indent: 0.5in;">-ease with the world, that the key to
his fame in the public's eye was the fact that he could never fit in. Van Gogh would never be allowed to fit in because we need our outsiders to stay strange so that we can feel less so. He could never paint nature
in a way that satisfied him, because being true to his vision would mean being
incomprehensible to others, while seeking recognition from others would mean
faking his art. When William Styron wrote </span><i style="line-height: 150%; text-indent: 0.5in;"><a href="http://www.amazon.com/Darkness-Visible-A-Memoir-Madness/dp/0679736395" target="_blank">DarknessVisible</a></i><span style="line-height: 150%; text-indent: 0.5in;">, his deeply personal memoir of madness, he said, “never let it be
doubted that depression, in its extreme form, is madness.”</span><span class="MsoEndnoteReference" style="line-height: 150%; text-indent: 0.5in;"><span class="MsoEndnoteReference"><span style="font-size: 12pt;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_edn1" name="_ednref1" style="line-height: 150%; text-indent: 0.5in;" title="">[i]</a></span></span></span></span></div>
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<span class="MsoEndnoteReference" style="line-height: 150%; text-indent: 0.5in;"><span class="MsoEndnoteReference" style="font-family: inherit;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXbyxtQJfmglIlret0_1uyAnW5sx5KLp2RJVEAb2kWwgyewec33pDVbD_DHQUnVt43x9XLjAiO8yDekzRKcFMuH3UMnrT_gEGZx45Afo_kYrBNkPtGMg_lMu7Nbl6bKutGsuWvW4KPno/s1600/Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXbyxtQJfmglIlret0_1uyAnW5sx5KLp2RJVEAb2kWwgyewec33pDVbD_DHQUnVt43x9XLjAiO8yDekzRKcFMuH3UMnrT_gEGZx45Afo_kYrBNkPtGMg_lMu7Nbl6bKutGsuWvW4KPno/s640/Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Van Gogh's <i>Starry Night</i>, the quintessential image of a world on the edge of falling apart.</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit;"><span style="line-height: 150%; text-indent: 0.5in;">Attempts to fully describe
the madness of depression necessarily fail to grasp its true nature because
they rely on words, and words fall miserably short. It’s like trying to
describe the color blue to a blind person. The madness of depression is “so
mysteriously painful and elusive in the way it becomes known to the self – to
the mediating intellect – as to verge close to being beyond description.”</span><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_edn2" name="_ednref2" style="line-height: 150%; text-indent: 0.5in;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[ii]</span></span></span></a><span style="line-height: 150%; text-indent: 0.5in;">
Any transcendent experience percolates down through the civilized consciousness
before it’s capable of being communicated, but something gets lost in
translation. People who experience profound states of being often find it
difficult to locate words that accurately convey the intensity of what happened
to them. It’s as if the words reduce the experience. The outsider who is
capable of mediating between both worlds does not fully live in either one; she’s
suspended in Dante’s </span><i style="line-height: 150%; text-indent: 0.5in;">purgatorio</i><span style="line-height: 150%; text-indent: 0.5in;">. Anyone
communicating the depths of insanity cannot doing so from within its dungeon.
Communication is only possible if we’ve stepped back from the void, otherwise
its language is utterly incomprehensible.</span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijR6mHkNLX4tLApkTQm70Vmf_nrVr-1iBT1Jbzfn-8K33Za3t9s7uGwpll-Qis90eAxeTKi4he8mzjN51-PD09PudO-ao9pKp2NLsfnQ_6Q83NQpDaUqEOZmxS_-U6OtWrIId01W26m40/s1600/The_Scream.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijR6mHkNLX4tLApkTQm70Vmf_nrVr-1iBT1Jbzfn-8K33Za3t9s7uGwpll-Qis90eAxeTKi4he8mzjN51-PD09PudO-ao9pKp2NLsfnQ_6Q83NQpDaUqEOZmxS_-U6OtWrIId01W26m40/s640/The_Scream.jpg" width="502" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><i>Skrik</i>, or <i>The Scream</i>, by Edvard Munch</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit; line-height: 150%; text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: inherit;"><span style="line-height: 150%; text-indent: 0.5in;">Edvard Munch’s iconic painting known as </span><i style="line-height: 150%; text-indent: 0.5in;">The Scream, </i>instantly recognizable to any highschooler, <span style="line-height: 150%; text-indent: 0.5in;">was
originally titled </span><i style="line-height: 150%; text-indent: 0.5in;">The Scream of Nature</i><span style="line-height: 150%; text-indent: 0.5in;">
(</span><i style="line-height: 150%; text-indent: 0.5in;">Der Schrei der Natur</i><span style="line-height: 150%; text-indent: 0.5in;">) and holds a
special place of fascination, revulsion and horror in the minds of the public. </span><i style="line-height: 150%; text-indent: 0.5in;">Skrik</i><span style="line-height: 150%; text-indent: 0.5in;"> is its Norwegian name; it describes more of a screeching banshee wail than a scream. But the title is unimportant;
it’s a visual language of alienation that we can all understand. This is what
it looks like when you cannot control your place in the world, we think. The
sky bleeds and nature melts. </span></span><br />
<span style="font-family: inherit;"><span style="line-height: 150%; text-indent: 0.5in;"><br /></span></span>
<span style="font-family: inherit;"><span style="line-height: 150%; text-indent: 0.5in;">On May 2 2012, it went to the auction block at
Sotheby’s. Bidding started at $40 million and quickly shot up from there. At
the 12 minute mark, a phone bid came in that brought down the auctioneer’s
hammer and caused dumbfounded gasps around the room: Leon Black had given the
final offer of $119,922,500.</span><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_edn1" name="_ednref1" style="line-height: 150%; text-indent: 0.5in;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: Arial; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[i]</span></span></span></a><span style="line-height: 150%; text-indent: 0.5in;">
Otherness is something we’re evidently willing to pay very good money to
possess, or perhaps more correctly, to circumscribe.</span></span></div>
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<div id="edn1">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-VkOEdggN_L7qCEHXt020YboLe3sz0F4xKDBruKdamAuHG-BDDE_RESDg1OjT-Tah3gUpGgIsdVXypY7Pwdx-R2e02IbA1Bofw9a3ytGJrJSDYDexSCH3oH9GxPVFZCzBBdgzNCH2Yo/s1600/Scream-auction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-VkOEdggN_L7qCEHXt020YboLe3sz0F4xKDBruKdamAuHG-BDDE_RESDg1OjT-Tah3gUpGgIsdVXypY7Pwdx-R2e02IbA1Bofw9a3ytGJrJSDYDexSCH3oH9GxPVFZCzBBdgzNCH2Yo/s640/Scream-auction.jpg" width="640" /></a></div>
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<span style="font-family: inherit;"><span style="text-indent: 48px;">With <i>The Scream</i>, Munch gave us a world that coincided with what </span><i style="text-indent: 48px;">our</i><span style="text-indent: 48px;"> vision of strangeness is. If it was truly strange, we wouldn’t have been able to understand it at all. </span><span style="line-height: 150%;">That Munch’s painting had an audience at all was a good sign
on two fronts, not least for the man himself. Whereas many inmates in the asylums of France cowered
incommunicably in darkened corners, Munch, fortunately, was still functional on
some level. It also meant that society had progressed to the point where it was
willing to at least </span><i style="line-height: 150%;">imagine</i><span style="line-height: 150%;"> what a
“madman” like him had to say, if only because his work subscribed to the
stereotype of the Disturbed to a society that was newly and romantically
inclined to want to investigate such extremes of character. </span></span><span style="font-family: inherit; line-height: 150%;">That </span><i style="font-family: inherit; line-height: 150%;">The Scream</i><span style="font-family: inherit; line-height: 150%;"> exists in no less than four
versions – two pastels and two paintings – should suggest to us that Munch had enough
wits about him to know he was on to a good thing. A few years previously and he’d have been discarded and left to rot in an asylum, and so-called <i>inspired lunacy</i> bedamned. Meanwhile, for the liberated societies of Paris and Berlin, wildmen, savages and the mad were being dragged along for the ride as contemporary representatives
of our evolving conception of wildness, and as mute witnesses to the changing
whims of Western fashion.</span><br />
<span style="font-family: inherit;"><span style="line-height: 150%;"><br /></span></span></div>
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<span style="font-family: inherit;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<div style="text-indent: 48px;">
<i style="mso-bidi-font-style: normal;">The Scream</i><span style="font-family: inherit;"> is a stunning painting to be
sure, but is it really worth all that money? I believe its popularity derives
at least in part from the same mechanism that was at play in the contemporary
popularity of Medieval accounts of monsters at the outer edge of the map. </span><i style="mso-bidi-font-style: normal;">The Scream </i><span style="font-family: inherit;">is a first-hand account from the outer fringes, which
lends it the weight of authenticity, but at the same time it is a madness that
we can all understand. </span><span style="font-family: inherit; font-size: 12pt;"> </span><span style="font-family: inherit;"><span style="font-size: 12pt;">Looking at the painting, we can see straight
away that it conforms to standard Western notions of the landscape. There’s a clearly
defined background, middle distance and foreground, containing the screamer in
a paroxysm of emotion that verges on </span><span style="font-family: inherit;">cartoonish. </span></span><span style="font-family: inherit; text-indent: 0.5in;"><span style="line-height: 150%;">The sky is primary red, immediately
recognizable in the West as the customary color of distress. Even Munch's </span><span style="line-height: 24px;">choice</span><span style="line-height: 150%;"> of medium and standard portrait format are all signs that are utterly ordinary. In fact, the painting is
striking precisely because it is so instantly readable. </span></span></div>
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<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;">
It conforms to a stereotype of
the outer frontier of consciousness that we created to define us, the viewer
gawping from the outside, as <i>not mad</i>. That’s not to question
Munch’s motivation as anything but a genuine quest to express the anguish he was feeling at the time, but the stratospheric sum paid for his painting should alert us
that there’s something deeper at play.</span></div>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt5EmyUCs0L6rK-YIMv1TNCdaX7heS_Q9cBhCr3tuBjV728-10kY3LFeiQwk_c7ftGZIfbdPvrLfmRnsRjscDWxpCRIN9wMqGcta5T3O9H3vjsuBRkzLjDF_wviH4oIMCKKN1fKOnXmLg/s1600/Scream_Elf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt5EmyUCs0L6rK-YIMv1TNCdaX7heS_Q9cBhCr3tuBjV728-10kY3LFeiQwk_c7ftGZIfbdPvrLfmRnsRjscDWxpCRIN9wMqGcta5T3O9H3vjsuBRkzLjDF_wviH4oIMCKKN1fKOnXmLg/s640/Scream_Elf.jpg" width="502" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">...and <i>The Scream</i> becomes a meme</td></tr>
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<span style="font-family: inherit;">In the end, Munch’s
painting is never <i style="mso-bidi-font-style: normal;">so</i> different that
it’s incomprehensible – as Kennington’s portraits had been to the alien society he'd found himself in. If Munch had been a true outsider, as Kennington had been to his Arab hosts, it would never have caused such a circus at Sotheby's. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Munch’s c<span style="line-height: 150%; text-indent: 0.5in;">olors might be inverted but his forms are still recognizable to us because <i>The</i> <i>Scream</i> is a visual idiom with which we are familiar. Its nightmarishness signifies <i>this</i> side of the boundary between reality and dreams, between order and chaos. Through it, w</span><span style="line-height: 150%; text-indent: 0.5in;">e define the edge of normality by witnessing its transgression. </span><span style="line-height: 150%; text-indent: 0.5in;">But disturbing as it is, Munch’s world has </span><span style="line-height: 150%; text-indent: 0.5in;">failed</span><span style="line-height: 150%; text-indent: 0.5in;"> to completely fall apart. </span><span style="line-height: 150%; text-indent: 0.5in;">It's popularity lies in its power to uphold our manufactured, pre-conceived stereotype of what is normal, what is real.</span></span></div>
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<!--[if !supportEndnotes]--><span style="font-family: inherit;">* Van Gogh's letters to his brother Theo are filled with the anguish it caused him to sit between two stools.<br clear="all" />
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<span style="font-family: inherit;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[i]</span></span><!--[endif]--></span></span></a>
Lawrence, DH, “<i style="mso-bidi-font-style: normal;">Apocalypse</i>,” from the
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<span style="font-family: inherit;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[i]</span></span></span></a> Styron, William, “<i>Darkness Visible</i>,” Vintage (1990), P47<o:p></o:p></span></div>
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<span style="font-family: inherit;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[ii]</span></span></span></a> Styron, ibid. P7</span></div>
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<span style="font-family: inherit;"><a href="https://www.blogger.com/blogger.g?blogID=729872479519980598#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-size: 12pt;">[i]</span></span></span></a> Crow, Kelly "Munch's "<i>The Scream" Sold to Financier Leon Black</i>". <i>The Wall Street Journal</i>, (11 July 2012).</span></div>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com1tag:blogger.com,1999:blog-729872479519980598.post-61654358022230596302015-09-19T10:46:00.001-04:002015-09-19T10:46:07.567-04:00Life, the Matrix and Everything<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_NX5ziQeIwcfk-EM-6zOYY69PNHhyu6MexaTZMGK_cyiCXQK7cJr2VTUjCTVo7A-VH5GP_xWMwk4UeVQdBOfSaNxOSdt69NLdaWLBbtsZ4k4A4a7QSMcILFixQ3uXa4IvergpYaZTTjI/s1600/The-Matrix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_NX5ziQeIwcfk-EM-6zOYY69PNHhyu6MexaTZMGK_cyiCXQK7cJr2VTUjCTVo7A-VH5GP_xWMwk4UeVQdBOfSaNxOSdt69NLdaWLBbtsZ4k4A4a7QSMcILFixQ3uXa4IvergpYaZTTjI/s640/The-Matrix.jpg" width="640" /></a></div>
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<b><span style="color: #38761d;"><span class="s1">"</span><span style="background-color: white; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;">What you know you can't explain, but you feel it. You've felt it your entire life, </span></span></b></div>
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<span style="background-color: white; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;"><b><span style="color: #38761d;">that there's something wrong with the world. You don't know what it is, but it's there, </span></b></span></div>
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<span style="background-color: white; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;"><b><span style="color: #38761d;">like a splinter in your mind, driving you mad."</span></b></span></div>
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<span style="background-color: white; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;"><b><span style="color: #38761d;">- Morpheus, <i>The Matrix</i></span></b></span></div>
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<span style="background-color: white; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;"><b><span style="color: #38761d;"><i><br /></i></span></b></span></div>
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<span class="s1"><span style="color: #444444;">Most of us will agree that there's probably more to reality than meets the eye. Many will even go so far as to say it's all just an illusion. It's the lingering suspicion that fuels our disparate fascinations from sci-fi movies and the scientific quest to pull back Nature's veil, to mass skepticism of the government, UFO junkies, white middle-class shamans, or even our eternal artistic quest for "authenticity." It's the belief that there's something out there that's <i>more real</i>. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivEXkCWKb8tGSeFvyBm6wztBW07WhASBtkcjCJT7lhl65yRWsZ7VO3bP1gJMUhyphenhyphenPDL5vxit386XnJzHsJjmnpfkz6krjuYu45YnQGDzUhFJn33Joce0q8Y75N-QX6CDGFr__mbdzSvc6Y/s1600/totem11-1024x364.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivEXkCWKb8tGSeFvyBm6wztBW07WhASBtkcjCJT7lhl65yRWsZ7VO3bP1gJMUhyphenhyphenPDL5vxit386XnJzHsJjmnpfkz6krjuYu45YnQGDzUhFJn33Joce0q8Y75N-QX6CDGFr__mbdzSvc6Y/s640/totem11-1024x364.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DiCaprio in <i>Inception</i> used a 'totem' to determine whether he was dreaming or not. [<a href="http://taylorholmes.com/2010/08/02/inception-totems-explanation/" target="_blank">image source</a>]</td></tr>
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<span style="color: #444444;"><span class="s1">But when our vision is so obscured by the </span>veil we drape over the world, how can we ever know what's "real"? Every now and then, the unconscious fabrications we use to navigate space in our day to day lives can be glimpsed through cracks exposed by those on the outside peering in. Outsiders reveal our version of reality for the cultural invention that it is. It's outsiders who enable us to see ourselves. There are two stories that have always illustrated this perfectly for me. Here they are - and don't worry, they both relate to art in their own way.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEz5V07uQfwxVSoxBFRf4L3pBVFZEwQHn1d_JErh3MHLqfuc-L0JcdIlhgxgoltrcfvtBbcLMphsVEvZ69wMDLCNCwuFcSnzEcG-bV2AJq6ZQa5DNRNgVuQncRFdbbKPKCJddhYNhqk18/s1600/07-magick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEz5V07uQfwxVSoxBFRf4L3pBVFZEwQHn1d_JErh3MHLqfuc-L0JcdIlhgxgoltrcfvtBbcLMphsVEvZ69wMDLCNCwuFcSnzEcG-bV2AJq6ZQa5DNRNgVuQncRFdbbKPKCJddhYNhqk18/s640/07-magick.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Piercing the Veil</td></tr>
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<span class="s1"><span style="color: #444444;">The first comes via Colin Turnbull, from his classic book <i><a href="http://www.amazon.com/The-Forest-People-Colin-Turnbull/dp/0671640992" target="_blank">Forest People</a></i>, where the young anthropologist introduces Kenge, his rainforest-born Pygmy friend, to wide open space for the very first time. </span></span></div>
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<span style="color: #0b5394;"><span class="s1">"When Kenge topped the rise, he stopped dead. Every smallest sign of mirth suddenly left his face. He opened his mouth but could say nothing. He moved his head and eyes slowly and unbelievingly. </span> </span></blockquote>
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<span style="color: #0b5394;"><span class="s1">Down below us, on the far side of the hill, stretched mile after mile of rolling grasslands, a lush, fresh green, with an occasional shrub or tree standing out like a sentinel into a sky that had suddenly become brilliantly clear. It was like nothing Kenge had ever seen before. On the plains, animals were grazing everywhere—a small herd of elephant to the left, about twenty antelopes staring curiously at us from straight ahead, and down to the right a gigantic herd of about a hundred and fifty buffalo. But Kenge did not seem to see them."</span> </span></blockquote>
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<span style="color: #0b5394;"><span class="s1">Then he saw the buffalo, still grazing lazily several miles away, far down below. He turned to me and said, "What insects are those?" At first I hardly understood; then I realized that in the forest the range of vision is so limited that there is no great need to make an automatic allowance for distance when judging size. Out here in the </span>plains, however, Kenge was looking for the first time over apparently unending miles of unfamiliar grasslands, with not a tree worth the name to give him any basis for comparison. </span></blockquote>
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<span style="color: #0b5394;"><span class="s1">When I told Kenge that the insects were buffalo, he roared with laughter and told me not to tell such stupid lies. When Henri, who was thoroughly puzzled, told him the same thing and explained that visitors to the park had to have a guide with them at all times because there were so many dangerous animals, Kenge still did not believe, but he strained his eyes to see more clearly and asked what kind of buffalo were so small. I told him they were sometimes nearly twice the size of a forest buffalo, and he shrugged his shoulders and said we would not be standing out there in the open if they were. I tried telling him they were possibly as far away as from Epulu to the village of Kopu, beyond Eboyo. He began scraping the mud off his arms and legs, no longer interested in such fantasies. </span> </span></blockquote>
<blockquote class="tr_bq">
<span style="color: #0b5394;"><span class="s1">The road led on down to within about half a mile of where the herd was grazing, and as we got closer, the "insects" must have seemed to get bigger and bigger. Kenge kept his face glued to the window. I was never able to discover just what he thought was happening—whether </span>he thought that the insects were changing into buffalo, or that they were miniature buffalo growing rapidly as we approached. His comment was that they were not real buffalo, and he was not going to get out of the car again until we left the park." [Turnbull, Colin, <i>The Forest People</i>, Pages 251-3]</span></blockquote>
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<span class="s1"><span style="color: #444444;">Some people who've been born blind but had their sight return later in life need induction into the same "small = far" rule that had so baffled Kenge. When Brunelleschi and Alberti quantified it all mathematically for artists and named it Linear Perspective back in the 15th Century, they were simply formulating the same handy guidelines for getting around that every Western child is taught from day one. Thomas Eakins later reduced the rule to, "twice as far = half as big," but it didn't make it any less of a culturally specific and learned fiction just by turning it into a simple equation.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-X7jCbrI85e5zmyntzWE4N_MCZKS_nDbVSmQLeViH8UY00Dd-RTirpLUbJF7fmJSlH-MOG73w874S3sCllg_GbPHr6osITrG4x8pnkUGqFvQfNrJ_yKii6kfnz4XnUKCh_g15U5QE1s/s1600/rainforest.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-X7jCbrI85e5zmyntzWE4N_MCZKS_nDbVSmQLeViH8UY00Dd-RTirpLUbJF7fmJSlH-MOG73w874S3sCllg_GbPHr6osITrG4x8pnkUGqFvQfNrJ_yKii6kfnz4XnUKCh_g15U5QE1s/s640/rainforest.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Home, for Kenge, is for us a unoriented and indistinguishable mass of green.</td></tr>
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<span class="s1"><span style="color: #444444;">For example, elderly people and war veterans suffering from PTSD occasionally lose their grip on the world. I'm not talking about amnesia or Alzheimer's. I'm talking about an utter disorientation that comes when they don't know where they are, what day or time it is, or the difference between reality and dreams - what are known clinically as "self-directed behavioral disturbances." </span></span></div>
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<span style="color: #444444;"><a href="http://study.com/academy/lesson/what-is-reality-orientation-definition-techniques.html" target="_blank">Reality Orientation Therapy</a> is a modality employed to treat these patients. It involves constantly reminding them of their orientation in space and time. We're talking big signs and over-sized clocks with the day and date, or repeatedly using prompts in conversation like, "I feel so full after lunch," or, "isn't it warm for April?"</span></div>
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<span class="s1"><span style="background-color: white; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px;"><span style="color: #0b5394;">"Without the information of where they are, what time it is, and who they are dealing with, a person has a feeling that they may be lost - they will lack a sense of control and understanding. Remember when you were a kid and the adults made decisions without your input? It is sort of like that." [<a href="http://study.com/academy/lesson/what-is-reality-orientation-definition-techniques.html" target="_blank">source</a>]</span></span></span></blockquote>
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<span class="s1"></span></div>
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<span class="s1"><span style="color: #444444;">Using standardized Western fictions such as calendar dates, the 24 hour clock, gridded space and arbitrary map locations, we reconstruct for these "lost" souls the same orienting information that the rest of us were brainwashed with as children.</span></span></div>
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<span class="s1"><span style="color: #444444;"><br /></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisC7dxT7wJB5rRoUiIvTuC5jKApEuRGKcsDAPTBTAR7rR-EZ61OlzuDrKCpOzT51F6eVj-BuGq7xIDu98B26jfwcWSSB26Fo_TQMgha9r4-0OH-2foF3NVjztTJQAKNJj6PhyphenhyphenCYiPOlS4/s1600/2book11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisC7dxT7wJB5rRoUiIvTuC5jKApEuRGKcsDAPTBTAR7rR-EZ61OlzuDrKCpOzT51F6eVj-BuGq7xIDu98B26jfwcWSSB26Fo_TQMgha9r4-0OH-2foF3NVjztTJQAKNJj6PhyphenhyphenCYiPOlS4/s640/2book11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Alice Through the Looking Glass</i> [<a href="http://www.alice-in-wonderland.net/resources/pictures/through-the-looking-glass/" target="_blank">source</a>]</td></tr>
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<div class="p1" style="text-align: center;">
<span style="background-color: white; color: #333333; font-family: 'Source Sans Pro', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; line-height: 20px;"><br /></span><span style="color: #444444;">The second story comes from the diaries of T. E. Lawrence, of Lawrence of Arabia fame. But you'll have to wait for the next blog post to read it - this one has already gotten too long.</span></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com2tag:blogger.com,1999:blog-729872479519980598.post-67860652114782450112015-09-08T07:10:00.000-04:002015-09-08T07:31:19.395-04:00It's Out! "They Drew as they Pleased," The Artists of Disney's Golden Age.<div class="separator" style="clear: both; text-align: center;">
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKMhLT6zRlUNPCGqKejBZwXpiMKTh86V42tI6S1TN5zp22UoXuqFkcMZgglOTaEuRWr3M4aRxDWGaPxpv8Hv1DIpgC0Ew3mx7-aAAV_sPwbtFPOfkCgzFdCysUjzGAlZjyEJyEzsOYFxk/s1600/They+Drew+as+they+Pleased.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKMhLT6zRlUNPCGqKejBZwXpiMKTh86V42tI6S1TN5zp22UoXuqFkcMZgglOTaEuRWr3M4aRxDWGaPxpv8Hv1DIpgC0Ew3mx7-aAAV_sPwbtFPOfkCgzFdCysUjzGAlZjyEJyEzsOYFxk/s640/They+Drew+as+they+Pleased.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: 12.8000001907349px;"><i>They Drew as they Pleased</i>, by Didier Ghez. </span></td></tr>
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<span style="font-family: inherit;">Anyone who's ever been a kid will want to get a copy of the new book </span><span style="font-family: inherit;">by </span><a href="http://www.amazon.com/Didier-Ghez/e/B001K727R6" style="font-family: inherit;" target="_blank">Didier Ghez</a><span style="font-family: inherit;">,</span><i style="font-family: inherit;"> <a href="http://www.amazon.com/They-Drew-Pleased-Hidden-Disneys/dp/1452137439/ref=zg_bsnr_1064_12" target="_blank">They Drew As They Pleased</a></i>, available on September 8th 2015. If it's true that there are no straight lines in Nature, then Getz's book is artistic proof. The golden light and billowing forms of the Disney universe defined childhood and the shape of the world for generations of grown up children.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVlL4MSM6uHugQ5g1gDAp9-YhyphenhyphenW6AUYQ5vsfmdOS5GvCgvE4kcmQLJFDHtMuFRpzIIi62yRi_fS1Gqt5KkGEYwjY2wyUvGIw1W3pY4iwJJbrpfZPSNl5yPNpaUVW0aXnJU7mY88Rzw7fs/s1600/Albert+Hurter+theatre.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVlL4MSM6uHugQ5g1gDAp9-YhyphenhyphenW6AUYQ5vsfmdOS5GvCgvE4kcmQLJFDHtMuFRpzIIi62yRi_fS1Gqt5KkGEYwjY2wyUvGIw1W3pY4iwJJbrpfZPSNl5yPNpaUVW0aXnJU7mY88Rzw7fs/s640/Albert+Hurter+theatre.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pinocchio's theater sketch, by Albert Hurter</td></tr>
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Concentrating on the concept art of four early Disney artists, Albert Hurter, Gustaf Tenggren, Ferdinand Horvath and Bianca Majolie, Ghez pieces together a picture of the Golden Age through rare interviews, letters, diaries and other published sources along with copious illustrations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwcsrfcVOdK1ag13GEqscELiszakAc0rHdSvr-G3S7LioJaNkmS3bZRXLFOl3HE54TjATyXwL1mU5XSb85XhiAz6gaRQUc88Fpt_e1TSYavEY0Rm9WBfm1TUpNZEUwjSrWRR0S82gXhbQ/s1600/Screen+Shot+2015-09-08+at+7.22.47+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwcsrfcVOdK1ag13GEqscELiszakAc0rHdSvr-G3S7LioJaNkmS3bZRXLFOl3HE54TjATyXwL1mU5XSb85XhiAz6gaRQUc88Fpt_e1TSYavEY0Rm9WBfm1TUpNZEUwjSrWRR0S82gXhbQ/s400/Screen+Shot+2015-09-08+at+7.22.47+AM.png" width="400" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-YgjwPMvmqxSjI3c8qjPMMBP7EQ_0RnjmjY_4aHLxGGD-6MqcW9uoPGk1Y_Ei8oBuZUsSinGZLSlg-kUPQ29NUih_2qiSRsYuzDDT4NExbkdaot_PBUtqjnYLRozkX_2RLxH5hOwz80/s1600/Screen+Shot+2015-09-08+at+7.23.58+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-YgjwPMvmqxSjI3c8qjPMMBP7EQ_0RnjmjY_4aHLxGGD-6MqcW9uoPGk1Y_Ei8oBuZUsSinGZLSlg-kUPQ29NUih_2qiSRsYuzDDT4NExbkdaot_PBUtqjnYLRozkX_2RLxH5hOwz80/s400/Screen+Shot+2015-09-08+at+7.23.58+AM.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Tin Soldier</i> sketches, by Bianca Majolie</td></tr>
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Incidentally, I wonder if Ghez's inclusion of the lesser-known Majolie might be to silence criticisms of sexism in the Disney camp from the likes of Meryl Streep, whose impassioned slamming of the Disney name was roundly denounced in <a href="http://www.animationmagazine.net/events/meryl-streeps-anti-disney-speech-sparks-controversy/" target="_blank">Animation Magazine</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctXRuQLi4NAVRfsM76AP-2fz-yiSqQk9EVIYW7xmrkW5zTVfL06s9APA4zAU1KcwqEI76LdU6bu807q76iabHarvIufl4t30kLnnoFQwk5gHwL-3944aqWf6YIqZXQx_z1vFt7sslXC8/s1600/Albert+Hurter+concept01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctXRuQLi4NAVRfsM76AP-2fz-yiSqQk9EVIYW7xmrkW5zTVfL06s9APA4zAU1KcwqEI76LdU6bu807q76iabHarvIufl4t30kLnnoFQwk5gHwL-3944aqWf6YIqZXQx_z1vFt7sslXC8/s400/Albert+Hurter+concept01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sketches for <i>Pinocchio</i>, by Albert Hurter</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAdFckDnwTSx9-ixH0i0urUdLJ7Qdxft9rb1bZ8v0R2pBt-bRP9pR8VDLEa6_fdweCg8MFEdRn4MN93MO2Lp4WQtKO5WC9mZaMI26kVq_wPxbOLcRFMUvXMUx-oh_eIwqe9bTGtsuJ3BQ/s1600/Albert+Hurter+Snow+White+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAdFckDnwTSx9-ixH0i0urUdLJ7Qdxft9rb1bZ8v0R2pBt-bRP9pR8VDLEa6_fdweCg8MFEdRn4MN93MO2Lp4WQtKO5WC9mZaMI26kVq_wPxbOLcRFMUvXMUx-oh_eIwqe9bTGtsuJ3BQ/s640/Albert+Hurter+Snow+White+2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 12.8000001907349px;">Snow White and the Seven Dwarfs</i><span style="font-size: 12.8000001907349px;"> sketch, by Albert Hurter</span> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHF8x2fvKCZMcYrxIR3at1sW3JBdolvOtcVIXHjLDiZ6CVMWktitYg7iCKCknndiMexurTUNsL5Yor2hxZ01Mn_dsuYqQn16W-0_4QOuAK-HNY3KASThib1SbwLOje-CkOpKYhEAaDoc/s1600/Albert+Hurter+Snow+White.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHF8x2fvKCZMcYrxIR3at1sW3JBdolvOtcVIXHjLDiZ6CVMWktitYg7iCKCknndiMexurTUNsL5Yor2hxZ01Mn_dsuYqQn16W-0_4QOuAK-HNY3KASThib1SbwLOje-CkOpKYhEAaDoc/s640/Albert+Hurter+Snow+White.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Snow White and the Seven Dwarfs</i> sketch, by Albert Hurter</td></tr>
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Albert Hurter was born in Switzerland in 1883, but came to the U.S. in 1913. A spotty career saw him more-or-less hidden from public view until finally, at the ripe old age of 48, he caught the eye of the man himself and ended up working for Walt as one of his key concept artists (or "inspirational sketch artists" as <a href="http://www.amazon.com/Treasures-Disney-Animation-John-Canemaker/dp/0896600319" target="_blank">Canemaker</a> calls them) on projects such as <i>Pinocchio, Fantasia, Dumbo</i> and <i>Snow White</i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOmjHPUXNbGVA5NjHo_QrzCObzMKro1VrUUOViFJah6EDs-AXAZK0J4EyDaWq_QYy31rPWjIUoW7r8Of7D1cXmEjBHrSXYx7r_1-2wvnlxaRkWymNt9GdrSwDDQUGzW3fPFo8ZrYMx_BQ/s1600/Albert+Hurter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOmjHPUXNbGVA5NjHo_QrzCObzMKro1VrUUOViFJah6EDs-AXAZK0J4EyDaWq_QYy31rPWjIUoW7r8Of7D1cXmEjBHrSXYx7r_1-2wvnlxaRkWymNt9GdrSwDDQUGzW3fPFo8ZrYMx_BQ/s400/Albert+Hurter.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hurter at his desk, Disney HQ</td></tr>
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Indeed, Hurter became so successful at embodying the spirit of the Disney universe that many of his drawings were used as inspiration for films made long after he'd passed away, including those for <i>Peter Pan</i> and (one of my favorite pieces of animation) <i>Lady and the Tramp</i>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4HmWSB8sV8X6WBA2K7exc3l9jYjQSTt527K8raer4Fi5diDh0h6LDDDjQV_r32Jkab18TmtmRqWI_6cvvqHbsl8CfyD1v6_3LJHQ-WA2LhCf-izi1jnBgtKUmWYZeZPP4PDiaUdiQQr0/s1600/rackham-watercolor-664684-o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4HmWSB8sV8X6WBA2K7exc3l9jYjQSTt527K8raer4Fi5diDh0h6LDDDjQV_r32Jkab18TmtmRqWI_6cvvqHbsl8CfyD1v6_3LJHQ-WA2LhCf-izi1jnBgtKUmWYZeZPP4PDiaUdiQQr0/s640/rackham-watercolor-664684-o.jpg" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"<i>Instantly they lay still, all turned to stone</i>," by Arthur Rackham.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkLwru8xWVSoZNqRD5aGYEKT-8hNqk4XXIRFSx65vZ_n6piPkMjOg25sohI9IHguarKvCc8J95Etka_LJrzSSk35xnrTk3DWL19sIpPa52D4ieX6P6u1ih6HDy-7LBzmO3UMdomb3PME/s1600/svenwise+Tenggrun.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkLwru8xWVSoZNqRD5aGYEKT-8hNqk4XXIRFSx65vZ_n6piPkMjOg25sohI9IHguarKvCc8J95Etka_LJrzSSk35xnrTk3DWL19sIpPa52D4ieX6P6u1ih6HDy-7LBzmO3UMdomb3PME/s400/svenwise+Tenggrun.jpg" width="295" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Early work by Gustaf Tenggren;<br /><span style="text-align: -webkit-left;"><i>Sven the Wise and Svea the Kind</i>, illustrated in 1932</span></span></td></tr>
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Another focus of Ghez's book is the phenomenal <a href="https://en.wikipedia.org/wiki/Gustaf_Tenggren" target="_blank">Gustaf Tenggren</a>. Born and raised in Sweden, Tenggren was steeped in the dark European style of Arthur Rackham and Scandinavian mythology. His twisted Rackham-esque landscapes can be spotted in the forest scenes of<i> Snow White</i>, and in the detailed architectural townscapes in the backgrounds of <i>Pinocchio</i>. Tenggren's work was very much in the winged helmets and blond damsels vein for much of his early career, until in 1936 he took a stylistic u-turn when he joined the Disney team.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafV_2iB0fe0-mVm2NYMhtvHcg1Hi2IkDUQYIbjXJH4QIATyON_Wvt5Cr9Ia36lXC3lH108C94xptSjmrGoLDNU69uzNzIwAkPkZ5S2EjwCjQbrAJF55_GfVCSyUAzN44NpZ523r5QSlM/s1600/Tenggren+Snow+white.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafV_2iB0fe0-mVm2NYMhtvHcg1Hi2IkDUQYIbjXJH4QIATyON_Wvt5Cr9Ia36lXC3lH108C94xptSjmrGoLDNU69uzNzIwAkPkZ5S2EjwCjQbrAJF55_GfVCSyUAzN44NpZ523r5QSlM/s640/Tenggren+Snow+white.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of Tenggren's work for Disney</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjNhyysci3P2InlqTEugYnnyi90qf8EfqbRflTuoQ_QMHEYJRkOGKEc66lrpaFFiTF8RbRBV34VN_q96PPhUUtxY800Umq5oYHLkPLJ90dbgdgteu0WeIWgQai6iM6VtmO1YWK0jT-1uM/s1600/little-red-riding-hood.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjNhyysci3P2InlqTEugYnnyi90qf8EfqbRflTuoQ_QMHEYJRkOGKEc66lrpaFFiTF8RbRBV34VN_q96PPhUUtxY800Umq5oYHLkPLJ90dbgdgteu0WeIWgQai6iM6VtmO1YWK0jT-1uM/s640/little-red-riding-hood.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Little Red Riding Hood</i>, by Gustaf Tenggren</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgedrZF3hgtixph44lRIgUkHK_gY4rz7T1dSZq9Hl1sOfWhT3QqtukD1GWRfR8Pvoe5D9D6kKeokKx6hF93YsKwnMm0JBgzJCgPC3eBEUmMNehed8aYB5NqqctCjrdu2h8qqxWVYq99G9k/s1600/Proofs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgedrZF3hgtixph44lRIgUkHK_gY4rz7T1dSZq9Hl1sOfWhT3QqtukD1GWRfR8Pvoe5D9D6kKeokKx6hF93YsKwnMm0JBgzJCgPC3eBEUmMNehed8aYB5NqqctCjrdu2h8qqxWVYq99G9k/s640/Proofs.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Artist Proofs of the new book, from Didier's own <a href="http://disneybooks.blogspot.com/2015/04/the-color-proofs-for-my-upcoming-book.html" target="_blank">blog</a></td></tr>
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Ghez has written two other titles about Disney, <i>Disney's Grand Tour</i> and <i>Disneyland Paris: From Sketch to Reality</i>, and is the writer of <a href="http://disneybooks.blogspot.com/" target="_blank">Disney History</a> blog.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0jijJS4BPEP3fo649rEcGS6kjXK-fc9WPySZfQydM_oQPxxktrPj8ufeng680fdlh_42-bakmtpgPq9m9DenVMgt1af4-42RxTSCSsHgSYq8dm_1yH6xJgTtqVbuJzRHQni-p4F8Jus/s1600/Ferdinand+Horvath+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0jijJS4BPEP3fo649rEcGS6kjXK-fc9WPySZfQydM_oQPxxktrPj8ufeng680fdlh_42-bakmtpgPq9m9DenVMgt1af4-42RxTSCSsHgSYq8dm_1yH6xJgTtqVbuJzRHQni-p4F8Jus/s640/Ferdinand+Horvath+.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ferdinand Horvath, forest sketch</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Horvath, <i>The Raven</i></td></tr>
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Further sources:<br />
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<a href="http://www.michaelspornanimation.com/splog/?cat=3&paged=11" target="_blank">Michael Sporn Animation</a> blog<br />
<i>Hans Christian Andersen</i> on <a href="http://disney.wikia.com/wiki/The_Life_of_Hans_Christian_Andersen" target="_blank">Disney Wiki</a><br />
<a href="http://happyundertaker.tumblr.com/" target="_blank">The Happy Undertaker</a>Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com7tag:blogger.com,1999:blog-729872479519980598.post-66618014981100892052015-09-04T08:52:00.000-04:002015-09-06T22:26:05.830-04:00Painted Tuscan Millhouse<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2npWJOEPB4Rupfpip7uniTNJ94Bl54M5Z9tG14mso5EPvKcDeVzULa_An-rYPMQMA9sYTo-_Y2jIkPEA8cwpTqeOOAVmP4XspUhq4tgyew4nWihXrd4jsuHwEQJ1DFzW7M48xvKPj5Ng/s1600/Cavezanna_003.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2-8N129ErHBZJG45mXbSnmh4ub6Pze8dtnD_Dfhu9a8X85-H0jlbxZQHH-GK-pWi8gF4DY-nSF3bSFdY_Wq45J_NLUNQQPu7V90xQ_c21ZggZ9AhZdx4OZCZN8aT4gM6dKDiqBsV1kQk/s1600/Cavezanna_005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2-8N129ErHBZJG45mXbSnmh4ub6Pze8dtnD_Dfhu9a8X85-H0jlbxZQHH-GK-pWi8gF4DY-nSF3bSFdY_Wq45J_NLUNQQPu7V90xQ_c21ZggZ9AhZdx4OZCZN8aT4gM6dKDiqBsV1kQk/s640/Cavezanna_005.jpg" width="640" /></a></div>
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Two miles from the small Tuscan town of Pontremoli, a large mill, its outbuildings and landowner's house with its small internal chapel form a <i>borgo,</i> or a kind of small village. Known as <i>Mulino de Cavezzana</i>, the house is currently available for <a href="http://www.cavezzana.com/" target="_blank">summer rental</a>, and is the perfect location from which to explore Pontremoli - known as the gateway to Tuscany - and its charming surroundings.</div>
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The <i>cantinas</i> dates as far back as the 14th century, but much of the architectural detail including many painted ornamental ceilings originated in the 1820s. Once owned by the local Diocese and used by the Bishop as a summer residence, it was most likely decorated by itinerant artisans traveling from major cities to the north, such as Genoa. </div>
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<tr><td class="tr-caption" style="text-align: center;">The engraved date on the entrance reads 1596</td></tr>
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The Ligurian coast (with its world-famous Cinque Terre region) is no more than 100 miles from Pontremoli, and was historically dominated by the Genoan republic. This precluded the development of a localized painterly style so that a kind of florid mannerism prevailed, painted as it was by 2nd Tier artisans for the most part, but that doesn't mean it's without its charm. When the style popular in urban centers spreads to the hinterland, it invariably becomes a filtered mush of folksy brushwork and overwrought forms. But that's also why we love it.<br />
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Foreign painters from Germany and Catalonia were employed in the 19th century to decorate Ligurian cathedrals and churches in the Baroque fashion that was all the rage in Genoa, much the same way that the foreigners Rubens and Van Dyke had been called to the region during the 17th century. The dominant local style in Liguria was Baroque in the manner of dominant Genoa, developed as it was under the patronage and expansive influence of the Jesuit style of church and palace architecture. Nearby Pontremoli has beautiful examples of Francesco Natali's ornate ceiling frescos in the <i>Church of Santissima Annunziata</i>, after his more famous Andrea Pozzo. I'll be writing a blog post about this charming little church next.<br />
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It's reasonable to assume that the artists, or at least their assistants, would have been employed to decorate the summer residence of a local Bishop.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgISvY4cR5fuG_trE4K_GzW4pnH7JYP8Jx52laArtcWa9YM3Sn01MwMX1-F7gtcXxuV4COlPvW7HYIbva_-3rxTk2spSH8PAgxEkYrrZ_y3VHolzMjf_bwVVh_93BLNpuDLXEvj4EqLWXQ/s1600/Cavezanna_03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgISvY4cR5fuG_trE4K_GzW4pnH7JYP8Jx52laArtcWa9YM3Sn01MwMX1-F7gtcXxuV4COlPvW7HYIbva_-3rxTk2spSH8PAgxEkYrrZ_y3VHolzMjf_bwVVh_93BLNpuDLXEvj4EqLWXQ/s640/Cavezanna_03.jpg" width="446" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The ceiling of what is now a small tea room</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTRWLtTwAPBqRlu9DbjD6iQhFNZrSHkQdqRqYdrQG8H7r4gtApSHUbf0GtRgsCiyYgFZzcsMK0-BzzU6VFGomb1aL7zdivXkEy7y2NT7eoyf0ykrSIzAg8xXv7ShW5mlZEF8XBkgK3b4/s1600/Cavezanna_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTRWLtTwAPBqRlu9DbjD6iQhFNZrSHkQdqRqYdrQG8H7r4gtApSHUbf0GtRgsCiyYgFZzcsMK0-BzzU6VFGomb1aL7zdivXkEy7y2NT7eoyf0ykrSIzAg8xXv7ShW5mlZEF8XBkgK3b4/s640/Cavezanna_01.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charming stencil designs, and loose Italianate <i>faux marbre</i> decorate the walls</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-suWOhtbdSoDZP3-RiBDFJMYMRxQVfdNgk_0jHfyOObj8iXcihWpBEuV2dohWe-PKcydZQGIIHMyuo6Gy8Yz8WFhJHP5HhDyK_BEnxqPSX76SHIZzUStxKqXXeqxex7t-3AXx-9z2NBM/s1600/Cavezanna_17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-suWOhtbdSoDZP3-RiBDFJMYMRxQVfdNgk_0jHfyOObj8iXcihWpBEuV2dohWe-PKcydZQGIIHMyuo6Gy8Yz8WFhJHP5HhDyK_BEnxqPSX76SHIZzUStxKqXXeqxex7t-3AXx-9z2NBM/s640/Cavezanna_17.jpg" width="590" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The large ceiling in the main living room has been heavily repainted, but retains its charm. </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqfGmAECRRRVLpoJcqgvSn2dwWSwdQur1ecBDvveIWDKNxrvHmn7PAVcHV_8AokGKw5j9FV_MufAcz6iNZSsyuRXXektw1Z_i_XbPcw4Ec-96Lm2ER9p_Sy-Ef398TGyXCNWfRSpKzO8/s1600/Cavezanna_29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsqfGmAECRRRVLpoJcqgvSn2dwWSwdQur1ecBDvveIWDKNxrvHmn7PAVcHV_8AokGKw5j9FV_MufAcz6iNZSsyuRXXektw1Z_i_XbPcw4Ec-96Lm2ER9p_Sy-Ef398TGyXCNWfRSpKzO8/s640/Cavezanna_29.jpg" width="474" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWokYkKjGsy_Oqwkjldcb0-kPERgC1ev2N0lscG5Dp6np9sFSgxDIpi_wOm5zdZAsaOVrB59vcDQBdEUT_D4bOnKuHKXhDgXDofGrJS-wPLswVeUTnvHleiXbW501ZOdlb7zUB6_BwSdM/s1600/Cavezanna_20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWokYkKjGsy_Oqwkjldcb0-kPERgC1ev2N0lscG5Dp6np9sFSgxDIpi_wOm5zdZAsaOVrB59vcDQBdEUT_D4bOnKuHKXhDgXDofGrJS-wPLswVeUTnvHleiXbW501ZOdlb7zUB6_BwSdM/s640/Cavezanna_20.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUKGvOz9qdCWf4MwUFP50xxBU1wapI7o6iiMs-1lKzdxL3KlELDpC5LLj6i_b5Mec3pOcSBo90T3h5UkNNguO1mNQjxqM426n8hhYM0EVRKL5QBcT-aHm0eCRtwR0uCSVkBWSFXNauxXc/s1600/Cavezanna_24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUKGvOz9qdCWf4MwUFP50xxBU1wapI7o6iiMs-1lKzdxL3KlELDpC5LLj6i_b5Mec3pOcSBo90T3h5UkNNguO1mNQjxqM426n8hhYM0EVRKL5QBcT-aHm0eCRtwR0uCSVkBWSFXNauxXc/s640/Cavezanna_24.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtZvpr5AZdTzhYJH7-jtQvLPNP3F5XP-R8NUUpdP-uh3X80E3jzNloYp9sBwbbNfn-WkdK1qQEl3Jq4bLyjba1Xxax5QLLp8D6Zu1Kw85DTjxRKVc77KSIfXw5a99SD3TyFBi7XIiCXA/s1600/Cavezanna_27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtZvpr5AZdTzhYJH7-jtQvLPNP3F5XP-R8NUUpdP-uh3X80E3jzNloYp9sBwbbNfn-WkdK1qQEl3Jq4bLyjba1Xxax5QLLp8D6Zu1Kw85DTjxRKVc77KSIfXw5a99SD3TyFBi7XIiCXA/s640/Cavezanna_27.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The internal chapel opened directly to the outside, <br />
welcoming visitors with a devotional marble <i>bas relief</i> and small holy water receptacle.</td></tr>
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com2tag:blogger.com,1999:blog-729872479519980598.post-56762517728222264522015-06-11T10:20:00.001-04:002015-06-11T10:20:35.246-04:00You're Welcome<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA2_KFFX8phJULEGX3XyU9Qg4IE01eCRCNwrGlJsWrHRhEEpvwvhW6EVkN2mMfsw_RBHQYGEC4VAw824-_5hyphenhyphenHId4Q0Dg0sdoVb3tyvjWB0pmxyBMGhvPEw4cx75VMYg2iqOyngx4peMw/s1600/IMG_8001.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA2_KFFX8phJULEGX3XyU9Qg4IE01eCRCNwrGlJsWrHRhEEpvwvhW6EVkN2mMfsw_RBHQYGEC4VAw824-_5hyphenhyphenHId4Q0Dg0sdoVb3tyvjWB0pmxyBMGhvPEw4cx75VMYg2iqOyngx4peMw/s640/IMG_8001.JPG" width="480" /></a></div>
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I made this and stuck it on my wall to remind myself whenever I need reminding. Just rip one off and carry it with you throughout the day. Here's the artwork below so, you know, now you can be awesome too.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz_LESOcMEvpdwbLyfAV7_XTR9rVU5v5Q2hPj4vthWCnNH-qRHXQZ8bEIXe8wNZ2rQ-zIwJSRXxTrr-fdH_G5zqWb7rzQoj17S7dCo3jEKDg-NW4yynteNHQ2DThpV7IhKzkq8Eb1Ctfo/s1600/Mr-T.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz_LESOcMEvpdwbLyfAV7_XTR9rVU5v5Q2hPj4vthWCnNH-qRHXQZ8bEIXe8wNZ2rQ-zIwJSRXxTrr-fdH_G5zqWb7rzQoj17S7dCo3jEKDg-NW4yynteNHQ2DThpV7IhKzkq8Eb1Ctfo/s640/Mr-T.jpg" width="494" /></a></div>
<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com4tag:blogger.com,1999:blog-729872479519980598.post-40664103961152155672015-06-03T13:07:00.000-04:002015-06-20T09:05:32.384-04:00Shut that Door! How to Paint Doors in Perspective<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxH9dt7u4mzHVs2ojT6Zz1mCy7xk1SBphp_NLs8sw7q8pA7lqmJiCo6B80vPTpezshD7_SDJWOnnq2bSblAKRBUaAB2xGj_NL7_ACu_oS5AVNjIpfl5fbkBtJe5q1rWXXDUKdffg1X38o/s1600/Domenico_Remps_curiositycabinet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxH9dt7u4mzHVs2ojT6Zz1mCy7xk1SBphp_NLs8sw7q8pA7lqmJiCo6B80vPTpezshD7_SDJWOnnq2bSblAKRBUaAB2xGj_NL7_ACu_oS5AVNjIpfl5fbkBtJe5q1rWXXDUKdffg1X38o/s640/Domenico_Remps_curiositycabinet.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Domenico Remps</td></tr>
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Artists are often confronted with painting doors, windows and shutters ajar. This creates a problem: How do we make sure that the door actually fits the frame when it's seen half open?<br />
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Surprisingly, mistakes are more common than you'd think, even among master painters.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2qGX0f9d93t2__NLrpa1DSfZD3iMRl8PSqDdmIUhiqMHIealfRF322reTWFWvc3rARrgwARiTqRu8CKgzQAn0uh2iXAPa-kyKPtksS2-EijpRW2IEO4YW7YJz97P5WfAs4UHPKM8wk7I/s1600/vanitas_Gysbrechts+Corne%25CC%2581lis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2qGX0f9d93t2__NLrpa1DSfZD3iMRl8PSqDdmIUhiqMHIealfRF322reTWFWvc3rARrgwARiTqRu8CKgzQAn0uh2iXAPa-kyKPtksS2-EijpRW2IEO4YW7YJz97P5WfAs4UHPKM8wk7I/s640/vanitas_Gysbrechts+Corne%25CC%2581lis.jpg" width="446" /></a></div>
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<span style="font-size: x-small;">Vanitas trompe l'oeil, by Cornelis Gysbrechts</span></div>
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It's a head-scratcher that's bested the best. <a href="http://en.wikipedia.org/wiki/Cornelis_Norbertus_Gysbrechts">Cornelis Gysbrechts</a> was a Flemish trompe l'oeil master known for his paintings of cupboards containing household objects depicted with stunning realism. Often, he included an open glazed door that revealed the contents within. However, his realism falls flat every now and then because if we were to close over his cupboard door we'd see that it does not fit the frame in which it is sitting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib_9veaVf8kFQf3Evi5JsjnSGiAUvDasty3YDmZLtKwRtjOA_Z1FJSQOJe5qons0530sn7nbMz_YBPiTeM5pB0Nx-0iXZN3OK_LryrqkxytYxNYwPsigDB5CoPki_YN8rB7xy6T64XfHQ/s1600/Gysbrechts+10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib_9veaVf8kFQf3Evi5JsjnSGiAUvDasty3YDmZLtKwRtjOA_Z1FJSQOJe5qons0530sn7nbMz_YBPiTeM5pB0Nx-0iXZN3OK_LryrqkxytYxNYwPsigDB5CoPki_YN8rB7xy6T64XfHQ/s640/Gysbrechts+10.jpg" width="640" /></a></div>
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Not only that, but if we extrapolate the vanishing lines created by the glazed doors, we can see that they don't converge at distance points (above). At least make your lines converge at the vanishing point. This is a pretty big error, but it's not the biggest problem with the painting: it should be pretty obvious that if those doors closed, they'd be too big for the opening and crash into each other.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkliceoIggyD_SbtbFGAYcxm_CJMzkHfUEpr3uMtmhu7qABPflgmoHkUSazoirPBYNYvyyOnqaMAWmJ24z_1tanXHUtlU7KL54b1xvP0MPzyDZvBw3l91rNq6lwHDs_p79wHxirYZd3ac/s1600/Gysbrechts+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkliceoIggyD_SbtbFGAYcxm_CJMzkHfUEpr3uMtmhu7qABPflgmoHkUSazoirPBYNYvyyOnqaMAWmJ24z_1tanXHUtlU7KL54b1xvP0MPzyDZvBw3l91rNq6lwHDs_p79wHxirYZd3ac/s640/Gysbrechts+3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">At least make your lines converge on the horizon</td></tr>
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To avoid this mistake, how do we determine the shape and size of our swinging door? Viewed from directly above, any opening window or door would describe a perfect semi-circular arc in space. Seen from an oblique angle, like say, standing in front of it, that perfect arc gets distorted to look like an ellipse.<br />
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How do we draw the shape of our ellipse? Viewing distance is the major factor. Here are the rules:<br />
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<span style="color: #3d85c6;"><b>• The shorter the viewing distance (i.e. the closer the viewer is to the action), the wider the ellipse. </b></span><br />
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<span style="color: #3d85c6;"><b>• The longer the viewing distance (i.e. the further the viewer is from the action), the tighter the ellipse.</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGefCoetGNm83zXiULHzbymchxJ-yH_J8W8WSrmkTWAF1gwVXr5p-7mrgu3ZLG0q8oWSS3yR4qxB5Clr5OaILypEGpDJx4WdwOR0hV5Q595qP8MWcylmahqntXek-qv1MavQiROj3vgfU/s1600/Gysbrechts+perspective.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGefCoetGNm83zXiULHzbymchxJ-yH_J8W8WSrmkTWAF1gwVXr5p-7mrgu3ZLG0q8oWSS3yR4qxB5Clr5OaILypEGpDJx4WdwOR0hV5Q595qP8MWcylmahqntXek-qv1MavQiROj3vgfU/s640/Gysbrechts+perspective.jpg" width="640" /></a></div>
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The above illustration explains how. The cyan rectangle represents Gysbrecht's open cupboard. Draw a circle in perspective (dark green ellipse) with its center at the bottom of the hinged door. My blue dotted construction lines should help you figure it out. Explaining it in words is useless. I set my viewing distance here for about 6', or twice the approximate width of Gysbrecht's 3' canvas. It's too detailed to explain how/why in this post. Just note that now there are green ellipses above and below the door frame on the left and right. Anywhere your door swings (the doors are those pink shapes) its edges should touch the ellipse. Presto; correct perspective.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcTqCjWOcnsYfeyT-ziiGd6VUgcHSn3qxlguvBApjx_pciZmNTNnSsPfL8ZrzO5RSfRoFTodhxc4ofC-tDbnULGQYeZzIbUjxgS6eNQ2ypju72Y9hUTM4Y6pBZbTmmn2H1zfsDfDAbhc/s1600/cubes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcTqCjWOcnsYfeyT-ziiGd6VUgcHSn3qxlguvBApjx_pciZmNTNnSsPfL8ZrzO5RSfRoFTodhxc4ofC-tDbnULGQYeZzIbUjxgS6eNQ2ypju72Y9hUTM4Y6pBZbTmmn2H1zfsDfDAbhc/s640/cubes.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(A) shows an infinitely long viewing distance. (B) shows a very close viewing distance.</td></tr>
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I did another post on viewing distance that might help to fill in. You can see it <a href="http://www.surfacefragments.blogspot.com/2013/04/canaletto-and-superman.html">here</a>.<br />
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Now, in the case of the Domenico Remps cupboard the intended viewing distance is very short. Objects are painted more or less life size, and the whole scene is painted as if we were standing directly in front of the cupboard and opening the doors ourselves. However, Remps dispensed with the rules here because if we were <i>truly</i> standing that close, the open doors would be subject to extreme foreshortening (as in <i>B</i>, above).<br />
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In actuality, with a viewing distance of 3' or less, the leading edge of the open doors would loom out towards us dramatically and seem quite large. Firstly, this would mean that his doors would be too large to be contained within the frame of the canvas - which would break the golden rule of trompe l'oeil painting. Which is ... all objects should be fully contained within the canvas. In other words; if objects are partly cropped by the frame, then it's a still life and not trompe l'oeil.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOthx9ZMW1ER5oiv4S4y3Tb2tkiIu2hVXXvGFSoplbK4kOkBNc3DAmEYD8Gc86Y0AJwm_t78X7qMNj-dYJSXhWDtgKUb9gKlA-TUi_8grjF6YLMgdYjrVgeKszmr5l0XnM7rOqYTq356A/s1600/still+life+trompe+l%2527oeil.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOthx9ZMW1ER5oiv4S4y3Tb2tkiIu2hVXXvGFSoplbK4kOkBNc3DAmEYD8Gc86Y0AJwm_t78X7qMNj-dYJSXhWDtgKUb9gKlA-TUi_8grjF6YLMgdYjrVgeKszmr5l0XnM7rOqYTq356A/s640/still+life+trompe+l%2527oeil.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still Life by Champaign (left), Trompe l'Oeil by Hoogstraeten (right)</td></tr>
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See the difference above? But that's a different lesson. Back to the topic at hand...<br />
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Where were we? Oh yeah, painting doors in perspective. Secondly, it would make an ugly painting. So Remps bent the rules. But they still apply nonetheless. His open doors will clearly close tightly if we swung them shut. He simply tweaked the viewing distance to give himself a tighter ellipse (as if we were viewing from far away) so that he could fit the entirety of the open door within his canvas. Why? It looks better that way. It doesn't matter that it breaks with the illusionistic realism elsewhere in the painting. It was an artistic decision.<br />
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Nevertheless, he made sure that no matter what, his doors were still painted according to the rules of linear perspective. They could close if he wanted them to. This is the important point regardless of the viewing distance: make sure your doors can close.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwNYgTlGeEXrjLfW6cs3Niyod21c2Q6OPMBJysr3D5NVaxJJQiIX3l7bgUEw0PUGlPzBXdFgutaU39qXa9Dj7pO26eOv3z1QRb5w3Vpx0RApYv80ridMxvTosd2c15lwhjmQt_7AC43w/s1600/scuola_tedesca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwNYgTlGeEXrjLfW6cs3Niyod21c2Q6OPMBJysr3D5NVaxJJQiIX3l7bgUEw0PUGlPzBXdFgutaU39qXa9Dj7pO26eOv3z1QRb5w3Vpx0RApYv80ridMxvTosd2c15lwhjmQt_7AC43w/s640/scuola_tedesca.jpg" width="640" /></a></div>
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This problem does not apply to doors alone.<br />
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Above, we see that a fine trompe l'oeil painting from the Uffizi of an illustrated book is spoiled because of the unnatural size of the pages. Overlaying an ellipse reveals that one of the pages in particular (highlighted in orange) is way too big for the book. If that book were closed, the highlighted page would stick out an inch beyond all the others. If anything, because the open pages are slightly curved, their edges should fall <i>inside</i> the ellipse and not outside.<br />
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Below, I took a photo of an antique map and overlaid an ellipse to demonstrate that the edges of the stiff open folds align perfectly along the ellipse.<br />
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com3tag:blogger.com,1999:blog-729872479519980598.post-26599206990986772352015-06-02T11:36:00.002-04:002015-06-02T11:40:43.368-04:00Thomas Eakins Perspective Fail<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOxugkFTEiCpL4bUVwZgcWZb58SSqsh1rdqr25JvBQOoiy4ayI3n62_sIDn_ElRRXePe9L-XPJA6iaVfB6I99P4znOiyENkLvjBfTKRjKSNp06fbKYnxyvqNrnCCCBEtRUoBFYwMNd5s/s1600/DT86.jpg" imageanchor="1"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOxugkFTEiCpL4bUVwZgcWZb58SSqsh1rdqr25JvBQOoiy4ayI3n62_sIDn_ElRRXePe9L-XPJA6iaVfB6I99P4znOiyENkLvjBfTKRjKSNp06fbKYnxyvqNrnCCCBEtRUoBFYwMNd5s/s640/DT86.jpg" width="640" /></a></div>
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Thomas Eakins' <i>The Champion Single Sculls</i> (1871) is a Realist masterpiece of balance and restraint. As a painter, he was famously meticulous when it came to constructing space according to the rules of linear perspective.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtY0zki89hVnUhiXaJVmG1-cto4cKxrpav59Yjcl-FesPsYSHR5Dwd-ooGh_hfMskz0Vw60IEUpr0Mr4WtduUq57SdHNsCyDDxSmAJz965MlgrjbU8K3-GH2PzInYNNvXaDChS2JX5Zrc/s1600/Perspective_drawing_for_the_pair-oared_shell_thomas_eakins.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtY0zki89hVnUhiXaJVmG1-cto4cKxrpav59Yjcl-FesPsYSHR5Dwd-ooGh_hfMskz0Vw60IEUpr0Mr4WtduUq57SdHNsCyDDxSmAJz965MlgrjbU8K3-GH2PzInYNNvXaDChS2JX5Zrc/s640/Perspective_drawing_for_the_pair-oared_shell_thomas_eakins.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Preparatory drawing for <i>Single Sculls, </i>by Thomas Eakins.</td></tr>
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His preparatory drawings for <i>Single Sculls</i> show the length to which he went to create a believable behind-the-canvas world, using a fine grid on the ground plane (in this case, the surface of the river).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEW6MAtfdThedpjFYo_zkDH2SQkRqa6BJ8E8J2iavqx-WF_u8ycZhEKcR6tzyBOJbndpm241Yy5xTQNQfsg9wxqoxNkrMPojJ_Q9pbhI2NOGYN7TfkEYuT6Xzux33GBIlyMaseXiADTQ/s1600/Eakins+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKEW6MAtfdThedpjFYo_zkDH2SQkRqa6BJ8E8J2iavqx-WF_u8ycZhEKcR6tzyBOJbndpm241Yy5xTQNQfsg9wxqoxNkrMPojJ_Q9pbhI2NOGYN7TfkEYuT6Xzux33GBIlyMaseXiADTQ/s640/Eakins+detail.jpg" width="640" /></a></div>
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His reflections are impeccable. Except for one major discrepancy. Why are there no reflections of the bridge or clouds? The dark land mass to the right of the bridge is on the same plane, and is seen reflected in what is clearly a smooth surface, and yet the bridge isn't. Why not?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxLrSfagPzyabdat9plgXWIR1NrC05kekK9vD7mxYgL4VPdiK0_Ugp-3AiEDKGc6szpPyecIKxqKuKUWaAwyBtI2gIwl6qwUZ9CI6R5vKr4aRVFkocAz6znoCF2d5Lr8zitGg2HCOFqvA/s1600/DT86_new.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxLrSfagPzyabdat9plgXWIR1NrC05kekK9vD7mxYgL4VPdiK0_Ugp-3AiEDKGc6szpPyecIKxqKuKUWaAwyBtI2gIwl6qwUZ9CI6R5vKr4aRVFkocAz6znoCF2d5Lr8zitGg2HCOFqvA/s640/DT86_new.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eakins' <i>Single Scull</i> painting, modified to include bridge and sky reflections</td></tr>
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Even a stickler for the rules like Eakins knew how to bend them every now and then for the sake of artistry. When reflected in the water, his stylized and decorative clouds produce a graphic effect that takes away from his sense of "realism." The same applies to the reflection of the bridge. If he'd included their reflections, they'd have created strong graphic shapes that place emphasis on the horizon and negatively impact the balance he has created between foreground, middle distance and background.<br />
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I took the liberty of adding the sky and bridge reflections (above) so you can see my point, and placed the modified (left) and original (right) paintings below for easy comparison...<br />
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com2tag:blogger.com,1999:blog-729872479519980598.post-82750662148632517642015-05-31T16:39:00.003-04:002015-05-31T16:47:37.255-04:00Tutorial: How to paint trompe l'oeil gold beading<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_OFnkWpFBbnh65r0OWlr_0w0iVJRCEzCOwVVqFWQy4x0yG2wqqrU0Ct-OdCgHD4vwzkeFla7-fk8YvOaJGQo2xQ52-Z6PzRXhGb-pX6z56I5Eyt3Ec3tfLcTjKmht83Lkv54e7rWB6ig/s1600/curtain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_OFnkWpFBbnh65r0OWlr_0w0iVJRCEzCOwVVqFWQy4x0yG2wqqrU0Ct-OdCgHD4vwzkeFla7-fk8YvOaJGQo2xQ52-Z6PzRXhGb-pX6z56I5Eyt3Ec3tfLcTjKmht83Lkv54e7rWB6ig/s640/curtain.jpg" width="636" /></a></div>
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Creating the "gold" beaded molding above this painted curtain was a relatively simple affair. Because there are so many of them across the whole surface (of which you're only seeing a small crop here), it pays to simplify the technique so that you don't lose your mind or, more importantly, your money. Here's how I did it.<br />
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First, I used blue tape to section off the area I wanted to paint, and laid down a wash of yellow ochre toned down with some raw umber.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45ccsRGfZ-qTHmKCZ8ZT1FeCr-wJMh9zXaZLaGTq-wGA6009L4tOUAvdQP0fT_zIkJ5aU773bKMnoyvcrTtiH4t9nDecMweR2f0kgLvUA1SjnYzlezfJGd1YJsnA4aqeezjtZXeVYOIY/s1600/IMG_2134.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45ccsRGfZ-qTHmKCZ8ZT1FeCr-wJMh9zXaZLaGTq-wGA6009L4tOUAvdQP0fT_zIkJ5aU773bKMnoyvcrTtiH4t9nDecMweR2f0kgLvUA1SjnYzlezfJGd1YJsnA4aqeezjtZXeVYOIY/s640/IMG_2134.JPG" width="640" /></a></div>
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Next, I striped along the top edge with a line made from cadmium yellow, yellow ocher and a drop of white, and along the bottom edge with a line of burnt sienna, burnt umber and a drop of yellow ocher.<br />
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Then I cut a stencil. This will be for the dark areas between the beads.<br />
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Use a stencil brush to pounce a dark color made from burnt umber, raw umber and ultramarine, repeating your stencil across the full length of the molding.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qjTntF5pLGv57s0MDjjl1sfWEOjE37ntXH8KDRduuuXw0h1PdBOrDNzyd5CvXBn_ElvJD1HABNkzoqnmumD-cVHujtmwV-ZAI7AcvjjI4_y6lcGR2PVEFiQ7fPQK_ezotc1FeaMGIp0/s1600/IMG_2139.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qjTntF5pLGv57s0MDjjl1sfWEOjE37ntXH8KDRduuuXw0h1PdBOrDNzyd5CvXBn_ElvJD1HABNkzoqnmumD-cVHujtmwV-ZAI7AcvjjI4_y6lcGR2PVEFiQ7fPQK_ezotc1FeaMGIp0/s640/IMG_2139.JPG" width="640" /></a></div>
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Here's how it looks after I take the stencil away (above).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAB6vcF_jlqLWdTV4YALGm4dhnF3zNpwBGLiZMUxgpIsaj_Vn-EXDpqXeTCMNFPxZJ5ZCuHDlTdXHtgEuTJhp-r-ti3NzGx0l5lZMqGD_kRIxIv67RHMv9hfVGveA1loW2KCWWBqS1AOE/s1600/IMG_2141.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAB6vcF_jlqLWdTV4YALGm4dhnF3zNpwBGLiZMUxgpIsaj_Vn-EXDpqXeTCMNFPxZJ5ZCuHDlTdXHtgEuTJhp-r-ti3NzGx0l5lZMqGD_kRIxIv67RHMv9hfVGveA1loW2KCWWBqS1AOE/s640/IMG_2141.JPG" width="640" /></a></div>
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I used a fine pointed brush to lay a stroke of burnt sienna and burnt umber along the left edge of each bead. Notice that my stroke is slightly inside and away from the bottom edge of each bead. This gives the illusion of a reflected highlight.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZW91WiWurqKiGbIK0j27AbfVgTZ7IvjGgV4iMXz4POdZC1ulD_EaCIu5ViHT90OJYUwnQ_m2dx08o2vinY1MQlW89I8fyv4YlxOoeBSPTxFuM-s1BSVGp9Jnh6GELiWe6YxrW7mLTnjo/s1600/IMG_2144.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZW91WiWurqKiGbIK0j27AbfVgTZ7IvjGgV4iMXz4POdZC1ulD_EaCIu5ViHT90OJYUwnQ_m2dx08o2vinY1MQlW89I8fyv4YlxOoeBSPTxFuM-s1BSVGp9Jnh6GELiWe6YxrW7mLTnjo/s640/IMG_2144.JPG" width="640" /></a></div>
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Then, I added a small stroke of titanium white with a hint of cadmium yellow for the bright specular highlight. It too is placed in and away from the top edge of the bead.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqU2v3FRIlv__qRSmufFMJ4TJxKQyZPYYqG5Iz2gDsCPh1R3AAKz88F4fyt3FUfWLgm4FOiRhBsWJf3WiDduHxVIIwaNyC1qrpc59Yq2llYye7BrGZkU1QP_uHKQIllJSAmPaZXqK04Bo/s1600/IMG_2146a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqU2v3FRIlv__qRSmufFMJ4TJxKQyZPYYqG5Iz2gDsCPh1R3AAKz88F4fyt3FUfWLgm4FOiRhBsWJf3WiDduHxVIIwaNyC1qrpc59Yq2llYye7BrGZkU1QP_uHKQIllJSAmPaZXqK04Bo/s640/IMG_2146a.jpg" width="640" /></a></div>
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Lastly, I added a dab of cadmium red opposite the specular highlight, and removed the blue tape.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZg1GkBSX7Ks6hU5TezT7chqDsOgFeRBVtzkVDqOPz_Pu9nRmvkoJdajUvX96fge5v9XrT52VbXRs6BMDnGX-i84-iEqSnXOwvmn9ZyYWw7P83PbjxaMeoe0MUXXJIm0woPfAgbK94yJs/s1600/IMG_2157.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZg1GkBSX7Ks6hU5TezT7chqDsOgFeRBVtzkVDqOPz_Pu9nRmvkoJdajUvX96fge5v9XrT52VbXRs6BMDnGX-i84-iEqSnXOwvmn9ZyYWw7P83PbjxaMeoe0MUXXJIm0woPfAgbK94yJs/s640/IMG_2157.tif" width="640" /></a></div>
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Here's a close-up of how the completed molding looked. You can see that I used a similar method (but different colors) for the grey tongued molding along the top. This technique is quick, and useful in many scenarios.<br />
<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com21tag:blogger.com,1999:blog-729872479519980598.post-80557198074329858162015-05-19T19:07:00.000-04:002015-06-20T09:18:28.887-04:00Breaking the Law! On Rules and Rule-Breakers.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnMLCrcoy-KS4Vv43sJ0OupPGdvm_e0ytliYVCfb7vyxHf4Z3_64N34K2Ufg7yUhiGxzcJUUUB962jj6edI43hPThL22rSy7G2N9nQQyv7f-S8UgKZy2ekD70_SLydMFFSU3Eaj9JKw8/s1600/steve_mcqueen-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="608" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnMLCrcoy-KS4Vv43sJ0OupPGdvm_e0ytliYVCfb7vyxHf4Z3_64N34K2Ufg7yUhiGxzcJUUUB962jj6edI43hPThL22rSy7G2N9nQQyv7f-S8UgKZy2ekD70_SLydMFFSU3Eaj9JKw8/s640/steve_mcqueen-1.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">There are only three Universal Rules: </span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">a.) The speed of light is constant. </span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">b.) People who wear sunglasses indoors are either blind or assholes. </span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">c.) That's it.</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">But all rules have exceptions. Like; a man should not wear short shorts, except if you're Steve McQueen. Or; no good deed was ever performed by anyone with an upturned collar, except if you're Nehru. Okay, so maybe those are Truisms and not Truths, but the point is that there's hardly a rule that doesn't have an exception. </span><br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Sc4g1glBT8U/0.jpg" src="https://www.youtube.com/embed/Sc4g1glBT8U?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<span class="Apple-style-span"></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="border-collapse: separate; font-size: small;">"I make it a rule never to get involved with possessed people.</span></span></span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="border-collapse: separate; font-size: small;">Actually it's more of a guideline than a rule."</span></span></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><span class="Apple-style-span" style="color: black; font-family: Times;"></span></span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">[</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><a href="http://youtu.be/ZGNoXIhKTLw">Ghostbusters video link</a></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">]</span></span></span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">The American realist painter Thomas Eakins' one simple rule of linear perspective, "twice as far, half as big," is mathematically demonstrable and seems pretty irreducible. Just like E=mc2, the best rules are the simplest ones. But what about the curious case of blind people who have had restorative vision surgery, only to realize that piles of dirt close by and mountains far away look the same? Even "obvious" rules such as <i>big=close</i> and <i>small=far</i> are accepted conventions that we've had to learn.</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">A rule's validity stems only from our willingness to invest it with importance. In a relative universe, Truth becomes simply the lowest common denominator. </span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">Even the universal speed-limit of light can be broken. Nothing in the universe can travel faster than light? Not according to <a href="http://en.wikipedia.org/wiki/Tachyon">quantum physics</a>. </span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">When it comes to Painting, there are a bazillion rules. The only question becomes, which ones do we choose to abide by? Classical realists might argue that strict dogma is essential. But is it?</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">The same argument for classicism in Painting played out in Opera. Wagner wrote extensively and pedantically about his craft. He passionately wanted to reform music and firmly believed that opera should adhere to a strict classical doctrine. Verdi, on the other hand, when asked (in response to Wagner) what his own theory of opera might be, answered only that, "my theory is that the theater should be full." </span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">Verdi's argument that the market dictates the rules sounds quite modern. Times have changed, people are less formal. I've been known to eat my dinner over the kitchen sink, and I've never once mowed the lawn in a suit and tie like my grandfather. Nobody reads books anymore or cares about your belief in tradition.</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">That being said - and Verdi's dismissal of Rules notwithstanding - as soon as we pick up our pencil and sketchpad we accept the confines of a common language: the pencil is confined to making certain marks, the paper is a certain size, the marks we make must speak a language that communicates to people. In other words, those marks better look like something recognizable. We indoctrinate our kids from day one by rewarding their doodlings with <i>oohs</i> and <i>aahs</i>, but only if they look like they're 'supposed to.'</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiobjb2bnTFMiLYni20yh2USGY0kYW5_lHcrr_ffvs8qvHcNDVNQRmSsYnKgg-rYme7E37mBqkTGO4CU7M75NlOH_n55sc_XfDErdPTvXgX76wJ9KXwm2GCXU7td7gnECSfYX_3YI43BRg/s1600/jacksonportrait.jpg" imageanchor="1"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiobjb2bnTFMiLYni20yh2USGY0kYW5_lHcrr_ffvs8qvHcNDVNQRmSsYnKgg-rYme7E37mBqkTGO4CU7M75NlOH_n55sc_XfDErdPTvXgX76wJ9KXwm2GCXU7td7gnECSfYX_3YI43BRg/s640/jacksonportrait.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">You say, "what about Pollock? He didn't paint '<i>things</i>.'" Who cares about him. If Clement Greenberg hadn't touted him to a bunch of bored east Coast intellectuals as the new vision of rugged American individualism, and if the CIA hadn't supported him financially in their anti-Soviet propaganda campaign during the Cold War, he would never have made it. The truth is, we don't celebrate <i>real</i> rule-breakers; they disappear into our lunatic asylums. True outsiders fall through the cracks and are never seen or heard from again. The people we deify as cultural barometers might be left of center but they're still distinctly on <i>our</i> side on the fence, and know very well how to play the game.</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span>
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">The point is: Rules are as mutable but ever-present in Art as they are in Life. There's nothing more boring in painting (or anything else) than someone who follows all the rules. Look at <a href="http://awp.diaart.org/km/painting.html">Komar and Melamid</a>'s experiments with crowd-sourced creativity. They produced paintings according to what everyone wanted to see, and the result looked like the bastard hellspawn of <a href="http://www.thomaskinkadeonline.com/online-gallery/?gclid=CJbpzryTz8UCFdOQHwodNVYAqg">Thomas Kinkade</a> and <a href="https://www.hallmarkecards.com/?did=31815egooglead_US_Hallmark_-_Generic&utm_source=googlead&utm_campaign=31815egooglead_US_Hallmark_-_Generic&utm_medium=cpc&gclid=CMKX-dSTz8UCFQYRHwodPkEA_A">Hallmark Cards</a>. We do like our artists to have the <i>appearance</i> of rebellion, but their work had still better look good hanging over our new couch.</span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;">This generation's resistance of the Rules is a tepid mix of some leftover punk rock anarcho-silly "rules are for fools" ethic, its disaffected lack of engagement with the past, and a ridiculous belief that all of us deserve success despite a lack of knowledge, skill, or any discernible talent whatsoever. Nevertheless, all the rebels hanging out in the mall still end up looking the same, which proves my point: </span><span style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">In the end, there are no renegades and even rebels follow the rules.</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: arial, sans-serif; font-size: 13px;"><br /></span>Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com1tag:blogger.com,1999:blog-729872479519980598.post-11632617099522590582015-05-18T12:31:00.001-04:002015-05-18T13:01:25.014-04:00Prehistoric Painted Illusionism<!--[if gte mso 9]><xml>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneZHuqhtajbd0IKh3o8EYVm-cLJuLFa5GlgH4Bv1ovwO9fECDxkJrIZc5Y2YlJkY1cTPBInjUY7Wv54rKIpwcDfnn2YTTV-n3kHOMRzW6Ds7NZ4iwGrkCQCH_3cBGMj7CVB5Uv25bG-o/s1600/Z0022381.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjneZHuqhtajbd0IKh3o8EYVm-cLJuLFa5GlgH4Bv1ovwO9fECDxkJrIZc5Y2YlJkY1cTPBInjUY7Wv54rKIpwcDfnn2YTTV-n3kHOMRzW6Ds7NZ4iwGrkCQCH_3cBGMj7CVB5Uv25bG-o/s1600/Z0022381.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="color: #666666; font-family: Times, Times New Roman, serif; font-size: small;"><i>Praxinotropes use mirrors around a central column to reflect the inside of the drum. The "overlapping" images create the sensation of movement. </i></span></td></tr>
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<span style="font-family: Times;">People like to be fooled. We
find the notion of illusion entertaining, and go out of our way to believe in
magic. Long before David Blaine, Imax theaters, and Florentines faffing about
in velvet hats, there were much hairier creatures crawling around in caves,
creating a visual magic of their own. 35,000 years ago, painters made their way
into the belly of the earth and left behind a spectacular tableau of aurochs,
horse, bison and elk, often composed of curious double images. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji40dQVct_Jr_nP6sepZoUgIws3noXN4ShtRna4CSt4wkqcDTm7yDpvgr_TXRWjBYybPljv71JjhG5-S1aywAtT_fs5fXrW1jUJWTKVY2gjhEL3rzeN8o56msWowaOa-fiykz8aMDqx5k/s1600/chamber+of+felines+lascaux.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji40dQVct_Jr_nP6sepZoUgIws3noXN4ShtRna4CSt4wkqcDTm7yDpvgr_TXRWjBYybPljv71JjhG5-S1aywAtT_fs5fXrW1jUJWTKVY2gjhEL3rzeN8o56msWowaOa-fiykz8aMDqx5k/s640/chamber+of+felines+lascaux.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Chamber of Lions</i>, in Lascaux, depicts curious double images, once believed to suggest the motion of their subjects.</td></tr>
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Archaeologists have long suggested that
the double images are attempts to breath life into the stone; that under
flickering torch light the animals are seen to dance and move. Early
experiments in kinematics - or motion pictures - built on this principle by using a spinning barrel with
staggered images on the inside that appear to move when spun, called a <i>zoetrope</i> or <i>praxinotrope</i>. Recently,
however, a couple of artists provocatively suggested that these ghost-like
double images are not illusions of <i>movement</i> but are in fact illusions of
<i>depth</i>.* </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiCI4y6ufcFMJJjEwQq_kmZuWakBvle44hjmXhwtcidKZWZV88IxNbY_n0x03VzUK3loMFaT5-DWT33hoFa6xYzJyYydGFNqXKlrlV4U1M5cKTMYDlrAS6LC8h14e5-qfoB4TI567qrl0/s1600/finger1+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiCI4y6ufcFMJJjEwQq_kmZuWakBvle44hjmXhwtcidKZWZV88IxNbY_n0x03VzUK3loMFaT5-DWT33hoFa6xYzJyYydGFNqXKlrlV4U1M5cKTMYDlrAS6LC8h14e5-qfoB4TI567qrl0/s640/finger1+copy.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">On the left, the camera is focused on my finger, and shows a blurred double image of the X on the wall.<br />
On the right, the camera is focused on the X, and the double image is instead my finger.</td></tr>
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<span style="font-family: Times;">A simple experiment explains
their idea: Hold your finger up in the air between your eyes and this page, and
focus on it: You see one finger. Now shift your focus to the page behind it,
and magically there appears to be two ghost images of your finger hovering. The
double image of your finger is thus understood to be <i>closer</i> to you than the
single image of the page. Simples! </span></div>
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<span style="font-family: Times;">Every child is familiar with this basic
optical trick. It’s the optical displacement of an object caused by our binocular vision
(or stereopsis), known as “parallax,” and it’s a binocular depth cue that
babies learn as early as four months out of the womb. In order to navigate 3-dimensional space, we learn from a very early age to interpret our world via optical cues such as parallax, and organize it into "near" and "far," for example.</span></div>
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<span style="font-family: Times;">Perhaps our primitive ancestors were harnessing this basic navigational tool and using it to create images depicting not movement through space, but <i>space itself</i>. If so, they'd have beaten the linear perspective discoveries of Alberti by, oh, 34,000 years or so.<o:p></o:p></span></div>
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<span style="font-family: Times;">* [In a talk by Ryan
and Trevor Oakes, titled “Seminal Notions: The Idea and Practice of
Perspective,” given at the Chicago Humanities Festival.]<o:p></o:p></span></div>
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Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com3tag:blogger.com,1999:blog-729872479519980598.post-68169523220968742612015-04-30T21:23:00.001-04:002015-05-01T09:38:14.844-04:00"Who Do We Think We Are?"If there was a sub-heading for my new book, this would be it. An alternative title would be, "Why I have not been blogging of late."<br />
<br />
As anyone who's had the misfortune to be within earshot of me in a bar will know, I've been writing a book. There's not a day that goes by without me blurting it out loud on the subway in NYC on my way to work. It started out as a broad history about our attempts to describe 3-D space on 2-D canvas, but it pulled way back to become a story about how we create the idea of ourselves ... of reality, really. <br />
<br />
I'm uploading what may end up being the first chapter. I do hope someone out there will read it. If you are that person, please let me know what you think.<br />
<br />
I would include an introduction, but I have not written it yet. Let's just say; it's to do with outsiders, hermits, garden gnomes, weirdos, oddballs and everyone that society considers to be a kook. I believe that these people are fundamental to the conception of what civilization is.<br />
<br />
Anyway; here it is... Please download the PDF at the link below, and you can open it on any one of your devices.<br />
<br />
Alan<br />
<br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://drive.google.com/file/d/0B4Epre640EmEUkNESmgwWklGZjA/view">[Download free PDF book sample here]</a></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com2tag:blogger.com,1999:blog-729872479519980598.post-56053258427883296552015-03-15T09:46:00.000-04:002015-03-15T10:02:01.365-04:00Perspective drawings by V. Pellegrin, 1873, and Ernest Norling, 1929<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizFpXf5OWSLrm1W6DIDUtA-A84Fh4Gi807YXMmQ7BZAijU5mfY0y3MW2mAXqEUBLPgImdCAvvChs5guKpqgca4X5xOQIbnAZTUZ4d0TDMLQiHqyBzs3B9y-0kJhx9zfsxe__NlL86Oq34/s1600/V+Pellegrin+Perspective+5.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizFpXf5OWSLrm1W6DIDUtA-A84Fh4Gi807YXMmQ7BZAijU5mfY0y3MW2mAXqEUBLPgImdCAvvChs5guKpqgca4X5xOQIbnAZTUZ4d0TDMLQiHqyBzs3B9y-0kJhx9zfsxe__NlL86Oq34/s1600/V+Pellegrin+Perspective+5.JPG" height="640" width="538" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Fig. 1</i></td></tr>
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Okay, I get it. Perspective is boring. Especially arcane drawings from some 19th century manual by the Professor of Topography at some Military School. True, the text (which you can read <a href="https://books.google.com/books?id=4S4DAAAAQAAJ&pg=PA17&lpg=PA17&dq=The+theory+and+practice+of+linear+perspective+applied+to+landscape,+interiors+and+the+figure+by+V+Pellegrin&source=bl&ots=s6mIM1EvIp&sig=jh3C2J7S4VlcWj4pOWGCwKfbNSc&hl=en&sa=X&ei=v4gFVaPnCfLjsAS1poCgAg&ved=0CCwQ6AEwAg#v=onepage&q=The%20theory%20and%20practice%20of%20linear%20perspective%20applied%20to%20landscape%2C%20interiors%20and%20the%20figure%20by%20V%20Pellegrin&f=false">here</a>) is as thick and dense as Dermot Malone who beat me up when I was a kid, but the drawings are amazing. Take the first one (<i>Fig. 1</i>), for example.</div>
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It shows how to draw a square in perspective (<i>lmno</i>), a column in perspective (<i>m1, n1, q1, p1</i>), and how to draw shadows cast in perspective (<i>v2, u2, p2</i>) ... all in one tiny little drawing. Note that the shadows also recede. Not only do they stretch back towards the horizon, but they have their own distance point at <i>F1</i>, which is a theoretical point that would be way under the ground somewhere. You know where to place the shadows by marking the intersection points between lines going back from the column towards the horizon, and lines cast by the sun (above and behind) that pass through the top corners of the column (<i>p1, q1, u1, v1</i>) and recede to <i>F1</i>. Simples.</div>
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Now you can delete this email and go about your day. See you in another couple of months with some more useless info. Bye!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_ihdcr1_HGtG3OWVGkN9vE8eAAr-gr0jL5536uqYx2B4No5qtx0ybqGVvueW5fHi27yYaISQdBpQSamdbF_xY-eCfCkGNnH7rxhtt9SsfYkBRfF2w388hjw9cje3zkCsMVSeu3mZWJw/s1600/V+Pellegrin+Perspective+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_ihdcr1_HGtG3OWVGkN9vE8eAAr-gr0jL5536uqYx2B4No5qtx0ybqGVvueW5fHi27yYaISQdBpQSamdbF_xY-eCfCkGNnH7rxhtt9SsfYkBRfF2w388hjw9cje3zkCsMVSeu3mZWJw/s1600/V+Pellegrin+Perspective+1.JPG" height="400" width="267" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd982hFQGczN76_wFFgXMOmJuoHk8dtQHXiO4KQ80qBtKvdnVsKCyw2VGXpIZMnjH0Z9O0BK9ezVWmt7rPGEG83O8-ubT2SmBzOZAKcI_08oQYZ0MG_6X1QsIdYNxX_YJEAyqpdUKVdYw/s1600/V+Pellegrin+Perspective+2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd982hFQGczN76_wFFgXMOmJuoHk8dtQHXiO4KQ80qBtKvdnVsKCyw2VGXpIZMnjH0Z9O0BK9ezVWmt7rPGEG83O8-ubT2SmBzOZAKcI_08oQYZ0MG_6X1QsIdYNxX_YJEAyqpdUKVdYw/s1600/V+Pellegrin+Perspective+2.JPG" height="640" width="562" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I admit; some might be a tad complicated. But they still look cool.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Continuing from Figure 1, this shows an obelisk in perspective and how to construct appropriate shadows.</td></tr>
</tbody></table>
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<br />
Maybe these next ones are a bit easier to follow. They're by Ernest Norling from <i>Perspective Made Easy</i> (1929). Maybe I should have posted these first, but they're not as cool-looking as Pellegrin's. And besides, nobody's made it this far into the post anyway.<br />
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<br />Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com7tag:blogger.com,1999:blog-729872479519980598.post-87716954126363949652014-08-25T08:53:00.001-04:002014-08-25T08:53:18.090-04:00Exotic Recipes from Artists' Apothecaries<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2Mk2WTyrOOvzQJuoCXlXLWR5lJm1O82vWke9zurR54-yBVzVNiIy5qxZFbBV6BHi2u1HNfdznpahl5K1-hFME1E0Tz-iWuqNwl1eG02wAD1Ghk8m8plllrKNDsHCLJb1KPV7xWCffqY/s1600/Stabler-Leadbetter+Apothecary+Musuem.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib2Mk2WTyrOOvzQJuoCXlXLWR5lJm1O82vWke9zurR54-yBVzVNiIy5qxZFbBV6BHi2u1HNfdznpahl5K1-hFME1E0Tz-iWuqNwl1eG02wAD1Ghk8m8plllrKNDsHCLJb1KPV7xWCffqY/s1600/Stabler-Leadbetter+Apothecary+Musuem.jpg" height="504" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Run by the Quakers until it closed in 1933, the <a href="https://travel.yahoo.com/ideas/america-s-strangest-museums-205027581.html">Stabler-Leadbetter Apothecary Museum</a> is a step back in time.</td></tr>
</tbody></table>
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<br /><span style="color: #444444; line-height: 150%;">Wherever I go, I collect samples of local earth. I scrape ancient </span><span style="color: #444444; line-height: 150%;">statues into old film canisters</span><span style="color: #444444; line-height: 150%;"> with a pocketknife and keep them for my collection; t</span><span style="color: #444444;"><span style="line-height: 150%;">he rainbow-colored sandstone of Petra is a particular favorite. I keep it in a box under my bed next to the bald eagle eggs. Relax, I'm joking. I ate those eggs ages ago. </span></span><br />
<span style="color: #444444;"><span style="line-height: 150%;"><br /></span></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-OszrhY9_8jcnxU_a_FC1Hvzhsx0Y3HMBe_M5Aeehfkr5B3zEkICPvbBg_ORdxD0kV8U2MtKWGB7GHRff0Ig80NFv6vofa9igr2HiPy4xbhHdHi5jNGOd8Wq-dMszkFSpwAZplpNxLCU/s1600/Swirls-and-whorls-in-the-sandstone-Petra-Jordan.-December-2008.-940x625.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-OszrhY9_8jcnxU_a_FC1Hvzhsx0Y3HMBe_M5Aeehfkr5B3zEkICPvbBg_ORdxD0kV8U2MtKWGB7GHRff0Ig80NFv6vofa9igr2HiPy4xbhHdHi5jNGOd8Wq-dMszkFSpwAZplpNxLCU/s1600/Swirls-and-whorls-in-the-sandstone-Petra-Jordan.-December-2008.-940x625.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;"><i>Swirls of color in sandstone, Petra, Jordan [<a href="http://edtrayes.com/2008/12/the-colors-of-petra-jordan/">Ed Trayes</a>, photographer]<br /></i></td></tr>
</tbody></table>
<span style="color: #444444;"><span style="line-height: 150%;">But pigment has always had a colorful history; explorers travelled to the four corners </span></span><span style="color: #444444; line-height: 24px;">for centuries </span><span style="color: #444444; line-height: 150%;">specifically to plunder color, until chemists in the 18th century wrested the practice from the hands of alchemists and their hired goons and took it indoors to the laboratory. But to this day, certain colors retain hints of their exotic past. </span><span style="color: #444444; line-height: 24px;">Red ocher, for example, is a constant reminder of our stellar origins. Iron oxide is forged in the belly of dying stars that explode and scatter their contents across the galaxy. In fact, </span><span style="color: #444444; line-height: 24px;">Mars still sends a kilo of it to us every day.</span><span style="color: #444444; line-height: 24px;"> (I wrote a whole post about it, </span><a href="http://surfacefragments.blogspot.com/2013/10/the-story-of-red-ocher.html" style="line-height: 24px;">here</a><span style="color: #444444; line-height: 24px;">)</span><br />
<span style="color: #444444; line-height: 24px;"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1IeiaseV04zpFJZkPKTz8h808uduFUCRRrd2RYjXGmk5JRhUOq9-ijAVc5SdPANbGQBvFj9c8PdYRG7-Qo-Kpl5GgATaio86xCGhP_LvwV40gtJVnl71TuK1HqCCgy103N8yLbwVk2sM/s1600/lapis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1IeiaseV04zpFJZkPKTz8h808uduFUCRRrd2RYjXGmk5JRhUOq9-ijAVc5SdPANbGQBvFj9c8PdYRG7-Qo-Kpl5GgATaio86xCGhP_LvwV40gtJVnl71TuK1HqCCgy103N8yLbwVk2sM/s1600/lapis.jpg" height="258" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Companies like <a href="http://www.lapislazulipigment.com/">De Mairo Pigments</a> still sell natural lapis lazuli pigment</i></td></tr>
</tbody></table>
<span style="color: #444444;"><span style="line-height: 150%;">Not content with simply smearing our canvases with dirt, we've forever ranged across the earth to uncover ever more exotic pigments. As with any modern luxury item, the </span><span style="line-height: 24px;">rarest</span><span style="line-height: 150%;"> pigment conferred a whiff of superiority upon anyone rich enough to afford it. The expensive pigment cinnabar was conspicuously splashed all over the walls of Pompeii. We assume that they just liked the color red, or were colorblind, but in the same way that we line up to buy the latest designer excrescence, perhaps they </span></span><span style="color: #444444; line-height: 24px;">simply </span><span style="color: #444444;"><span style="line-height: 150%;">had to have it</span></span><span style="color: #444444; line-height: 24px;"> </span><span style="color: #444444;"><span style="line-height: 150%;">because it was new and exotic. Ancient Egyptians wore lapis from Afghanistan and iron beads from </span><span style="line-height: 24px;">Mars. </span><span style="line-height: 150%;">Venice, by the late fifteenth century, had developed an offshoot of the apothecary specifically for artists, called </span></span><i style="color: #444444; line-height: 150%;">vendecolori</i><span style="color: #444444; line-height: 150%;">, which sold pigments like the exotic </span><i style="color: #444444; line-height: 150%;">oltremare da venezia</i><span style="color: #444444; line-height: 150%;"> – lapis lazuli imported from the mines of Badakshan, and first described by none other than Marco Polo.<span style="font-size: xx-small;">(1)</span> </span><br />
<span style="color: #444444; line-height: 150%;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7bsaKK8gCDQWU0am5sT2Cco_zqDEmOEbGsVUEKHNlYr0XEtRrFr_1tfPqoSpta2t6MjjfCxT2zicNiXhn3d_hpYaLU_AOReGHOC1HyL14xERFJAI6sVwjfG8zMs-4lYBYbqb2oXQ8RM/s1600/Roman_fresco_Villa_dei_Misteri_Pompeii_001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7bsaKK8gCDQWU0am5sT2Cco_zqDEmOEbGsVUEKHNlYr0XEtRrFr_1tfPqoSpta2t6MjjfCxT2zicNiXhn3d_hpYaLU_AOReGHOC1HyL14xERFJAI6sVwjfG8zMs-4lYBYbqb2oXQ8RM/s1600/Roman_fresco_Villa_dei_Misteri_Pompeii_001.jpg" height="514" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The deep saturation of "Pompeiian Red" is due to the addition of <a href="http://www.abc.net.au/science/articles/2004/11/02/1232875.htm">fine granules</a> to the pigment.<br />Wax was applied to preserve and protect the finish.</i></td></tr>
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<span style="color: #444444; font-family: inherit; line-height: 150%;"><br /></span>
<span style="color: #444444; font-family: inherit; line-height: 150%;">Before this time, it was perfectly natural for
artists to run down to their local Apothecary for the ingredients
of their craft, but these were closer in spirit to shaman's huts than laboratories. </span><span style="font-family: inherit; line-height: 150%;"><span style="color: #444444;">Records of Apothecaries dating as far back as 1,500 BCE in
ancient Egypt show over 800 recipes and 700 different drugs.<span style="font-size: xx-small;">(2)</span></span></span><span style="font-family: inherit; line-height: 150%;"><span style="color: #cccccc;"> </span></span><span style="color: #444444; line-height: 24px;">Not all of the ingredients were exotic in a "strange and alluring" way, some of them were just plain weird: </span><span style="color: #444444; font-family: inherit; line-height: 150%;">By
the time the Renaissance rolled around, these ingredients naturally expanded to include
all sorts of herbs and ground minerals of every kind and color, soaps, cosmetics,
gems such as amethyst and emeralds, oddities like “ground unicorn horn” (rhinoceros horn that came through Spain from Africa), tobacco (also through
Spain in the fifteenth </span><span style="color: #444444; font-family: inherit; line-height: 150%;">century), sulfur, mercury, the skin of roasted
vipers, dried earthworms and human faeces (most prized being those of young
children), bizarre elixirs and, of course, illegal poisons like arsenic and
hemlock: Shakespeare’s Romeo picked up the poison he used to kill himself from
an apothecary. </span><br />
<span style="color: #444444; font-family: inherit; line-height: 150%;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZvwKuYBv41z7zL2mrjr3_0SgZP7dsMcM-WQVggjEpHe__1QCFu2QO67LjvJoHAEEDL6O1AP2yFfNZT26AklmH7g_bOyWnzkeSm95mPLOvJvkt4UwrtIIFqJ4KjivCHPIaaRdoIb13PM/s1600/victorian+medicine+case.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheZvwKuYBv41z7zL2mrjr3_0SgZP7dsMcM-WQVggjEpHe__1QCFu2QO67LjvJoHAEEDL6O1AP2yFfNZT26AklmH7g_bOyWnzkeSm95mPLOvJvkt4UwrtIIFqJ4KjivCHPIaaRdoIb13PM/s1600/victorian+medicine+case.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Victorian Medicine Case [<a href="http://tumview.com/5handscuriosities">source</a>]</i></td></tr>
</tbody></table>
<span style="color: #444444; font-family: inherit; line-height: 150%;"><br /></span>
<span style="color: #444444; font-family: inherit; line-height: 150%;">Combine this with the practice (for certain illustrators of Islamic illuminated texts) of making the finest brushes from hairs gathered from the inside throats of kittens, and it's easy to see why artists were traditionally looked at sideways. As for me, I'll stick to ordering from the catalog.</span><br />
<div style="line-height: 150%;">
<br /></div>
<div style="line-height: 150%;">
<span style="color: #444444;">Recommended reading:</span></div>
<div style="line-height: 150%;">
<span style="color: #444444;">"<i>Color</i>," Victoria Finlay, Random House</span></div>
<div style="line-height: 150%;">
<span style="color: #444444;">"<i>Colors: The Story of Dyes and Pigments</i>," Abrams Discoveries</span></div>
<div style="line-height: 150%;">
<br /></div>
<span style="color: #666666;">(1) <span style="line-height: 24px;">“<i>Vendecolori a Venezia: the reconstruction of a Profession</i>,” Louisa C. Matthew, The Burlington Magazine, </span><span style="line-height: 24px;">Vol. 144, No. 1196 (Nov., 2002), pp. 680-686</span></span><br />
<span style="color: #666666;"><span style="line-height: 24px;">(2) </span><span style="line-height: 24px;">“</span><span style="line-height: 24px;"><i>A History of Pharmaceutical Compounding</i><i>. Secundum Artem</i> ,” Allen, Jr, Lloyd, Volume 11 Number 3.</span></span></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com6tag:blogger.com,1999:blog-729872479519980598.post-29817071204155650862014-08-12T22:01:00.000-04:002014-08-24T08:50:03.109-04:00Q: Why is the Sky Brighter over the Sea when it's Windy?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha4YZLN61QgYs4pQ6Dv5po7vHj9m5McWvB-Gq4mCoySu4onDaXBxqjCw4gb0iMt_sVUlIsO1UJPhXXseb3iiVxGuYWceW2R_mBAd9WnaYS8L8_M7-SCXHUEeY9QyLcJ3WFmuSgbJf3HZ0/s1600/Winslow_Homer_-_Breezing_Up_(A_Fair_Wind)_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha4YZLN61QgYs4pQ6Dv5po7vHj9m5McWvB-Gq4mCoySu4onDaXBxqjCw4gb0iMt_sVUlIsO1UJPhXXseb3iiVxGuYWceW2R_mBAd9WnaYS8L8_M7-SCXHUEeY9QyLcJ3WFmuSgbJf3HZ0/s1600/Winslow_Homer_-_Breezing_Up_(A_Fair_Wind)_-_Google_Art_Project.jpg" height="402" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif;"><i>Breezing Up, Winslow Homer</i></span></td></tr>
</tbody></table>
<span style="color: #444444; font-family: Times, 'Times New Roman', serif;">A: Ask a sailor. </span><br />
<span style="color: #444444; font-family: Times, Times New Roman, serif;"><br />
There was a time when reading the weather meant more than just clicking an app on your smartphone. Seafaring Greeks, Vikings or Moors weren't concerned about choosing appropriate footwear for the long walk to the car, or remembering to pack a sweater to brave frigid air conditioners in corporate HQ; they needed to learn to read natural signs of approaching weather because their lives depended on it.</span><br />
<span style="color: #444444; font-family: Times, Times New Roman, serif;"><br />
Becalmed mariners have long known when a stiff wind is approaching because the sky over the sea gets brighter in that direction. Why? It was a mystery for years until Galileo Galilei came along and applied his massive brain to the problem. The famed mathematician and astronomer was known to take long walks on the beach while contemplating the heavens, and while sitting on a hill overlooking the ocean one day, it suddenly occurred to him.</span><br />
<span style="color: #444444; font-family: Times, Times New Roman, serif;"><br />
He had been pondering the question of the texture of the moon: Since the moon appeared so bright in the night sky, did that mean that its surface was mirror-like? Was it <i>so smooth</i> that it reflected the sun's rays directly towards the eyes of this earth-bound observer? Or was it rough and rocky?</span><br />
<span style="color: #444444; font-family: Times, Times New Roman, serif;"><br />
His Eureka moment came while witnessing the effect of approaching wind on the water. As the wind picked up, it would roughen the surface of the water. If the sun was shining at the time, and the air being dense with moisture, the now fractured surface of the water would bounce the reflection of the light source (the sun) in all directions, where it would be scattered by the humid atmosphere and appear bright:</span><br />
<blockquote class="tr_bq">
<span style="color: #0b5394; font-family: Times, Times New Roman, serif;">"From such waves, as from many mirrors spread over a wide area, there would originate a much brighter reflection of the sun than would exist if the sea were calm. Then that part of the vapor-laden air may be made brighter by this new light and by the diffusion of that reflection. </span></blockquote>
<blockquote class="tr_bq">
<span style="color: #0b5394; font-family: Times, Times New Roman, serif;">This air, being high, sends also some reflection of light to the eyes of the sailors, while they, being low and far off would not be able to receive the primary reflection from that part of the sea which is already being ruffled by the wind twenty or thirty miles away. And that is how they perceive and predict a wind from afar."</span></blockquote>
<div style="background-color: white; min-height: 13.8px;">
<span style="color: #444444; font-family: Times, Times New Roman, serif;">Galileo's theory that <b>rougher surfaces appear brighter than smooth surfaces</b> led him to claim that the surface of the moon must be rocky and not glass-like; a theory that would be proven correct many centuries later when we finally stood on it. I say "we": I had nothing to do with it. </span></div>
<div style="background-color: white; min-height: 13.8px;">
<span style="color: #444444; font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="background-color: white; min-height: 13.8px;">
<span style="color: #444444; font-family: Times, Times New Roman, serif;">He proposed a thought experiment to illustrate his point: Imagine that the sun is shining on a bright white-washed stone wall. Now, imagine hanging a mirror on that wall and stepping across the courtyard. Which looks brighter; the mirror or the wall? Spoiler alert: it's the wall.</span></div>
<div style="background-color: white; min-height: 13.8px;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVUpuIHNOuHOUvd9USQD9hhvuSje8vt_aAeJfocFWH_5_yMIFwARvJfOyE5pwfX_yQI0SonzGSdpNMEyYxudmQDuZH3ay1Sk0pfWHHffTha1LH_gTkvWJQtNHt0z34TLL92XAXzzG1aw/s1600/Rembrandt_Harmensz_van_Rijn_-_Man_in_Armour_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeVUpuIHNOuHOUvd9USQD9hhvuSje8vt_aAeJfocFWH_5_yMIFwARvJfOyE5pwfX_yQI0SonzGSdpNMEyYxudmQDuZH3ay1Sk0pfWHHffTha1LH_gTkvWJQtNHt0z34TLL92XAXzzG1aw/s1600/Rembrandt_Harmensz_van_Rijn_-_Man_in_Armour_-_Google_Art_Project.jpg" height="640" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif;"><i>Man in Armour, Rembrandt van Rijn</i></span></td></tr>
</tbody></table>
<br /></div>
<div style="background-color: white; min-height: 13.8px;">
<span style="font-family: Times, Times New Roman, serif;">What's this got to do with painting? </span></div>
<div style="background-color: white; min-height: 13.8px;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div style="background-color: white; min-height: 13.8px;">
<span style="font-family: Times, Times New Roman, serif;">Medieval illuminators knew to think of gold-leafed areas of their panels as dark compositional elements, even though symbolically they represented the effulgent light of the Lord. It was obvious to them that while the applied gold surface may have been <i>reflective</i>, it was not <i>shiny: </i>it was physically dark under normal lighting conditions<i>. </i></span></div>
<div style="background-color: white; min-height: 13.8px;">
<i><span style="font-family: Times, Times New Roman, serif;"><br /></span></i>
<span style="font-family: Times, Times New Roman, serif;">Basically my point is this: paint shiny surfaces dark except for their specular highlights.</span></div>
<div style="background-color: white; min-height: 13.8px;">
<i><br /></i></div>
<div style="background-color: white; min-height: 13.8px;">
You should also look at <a href="http://surfacefragments.blogspot.com/2012/10/how-old-masters-created-look-of-gold-in.html">this</a> post regarding the technique for painting reflective surfaces like gold.</div>
<div style="background-color: white; min-height: 13.8px;">
<br /></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com10tag:blogger.com,1999:blog-729872479519980598.post-33478966686617990692014-04-13T07:39:00.000-04:002014-04-13T07:40:54.934-04:00The Ideal City<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJh75m265xZVs_dxXk_FkeEFw0Q_emHBaRyM-NgtWbzKGyJawrnQ4v_KVqeP-37XkSgn3v33q4o_djyb2sZFC6QUW9yS2H5ZwRorOjSsPYkDMFv9cwSFML0oMJIZym7Vd6NCjbzZtdM0/s1600/Fra_Carnevale_-_The_Ideal_City_-_Walters_37677.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJh75m265xZVs_dxXk_FkeEFw0Q_emHBaRyM-NgtWbzKGyJawrnQ4v_KVqeP-37XkSgn3v33q4o_djyb2sZFC6QUW9yS2H5ZwRorOjSsPYkDMFv9cwSFML0oMJIZym7Vd6NCjbzZtdM0/s1600/Fra_Carnevale_-_The_Ideal_City_-_Walters_37677.jpg" height="230" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>A staggeringly boring 'Ideal' cityscape by Fra Carnevale</i></span></td></tr>
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<span style="color: #262626; font-family: Arial, Helvetica, sans-serif; line-height: 150%;">The idea that an ‘ideal city’ is even possible is a
tantalizing dream born of a desire to escape our current situation, wipe the
slate clean and start afresh. It’s part of the reason colonizers get so
glassy-eyed when it comes to setting up shop in a newly colonized space; the
attempt to transcribe the perfect world that exists in our imagination into
real bricks and mortar has excited both creativity and hubris for ages, from
cave-painters to conquistadores. The downside - that you can’t just run away
from human nature - hasn’t failed to excite its own brand of dystopian
creativity too, where writers and artists have pointed out just what a disaster
these utopian delusions invariably turn out to be. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZjczPOra186RyaaQnmDpb-kxaSmv4qz9Pt3USPcodVAUWm_bbLZFAXDIccsJhJ6gmsqESVE-zmicRQXip1kZaiZA8PGt7F4G-yndapVLpO6s9fui92sPKalR93-1qLapbY49Ldyu4hY/s1600/aoc079.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZjczPOra186RyaaQnmDpb-kxaSmv4qz9Pt3USPcodVAUWm_bbLZFAXDIccsJhJ6gmsqESVE-zmicRQXip1kZaiZA8PGt7F4G-yndapVLpO6s9fui92sPKalR93-1qLapbY49Ldyu4hY/s1600/aoc079.jpg" height="640" width="634" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;"><i>Vitruvius, Plan of an Ideal City</i></span></td></tr>
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<br /></div>
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<span style="color: #262626; font-family: Arial, Helvetica, sans-serif; line-height: 150%;">From hippy communes to Brasilia,
the attempt to corral people into synchronous alignment is like trying to stop
a spinning drill bit with your lips: You’re welcome to give it a shot, but
it’ll end in tears. At the end of the day, we monkeys don’t like to share our
banana. The synonymy between “idea” and “ideal” means that, by definition, a
thought must stay in our heads if it’s to remain perfect, because as soon as it
turns into action it is reduced and corrupted by the physical world. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGYp36XphyphenhyphenKDe8ub_hkzvg86kbOOFweqfVNnBwQkimWLMl-UOt5PD6KqgiN6_qvM9m0AICPHlgykLiGebZJGKOQKu-qutBERZYuR7wTSmz-c8kOVInL1AWKFVWdYBmNX2UW4CTx2FtZ4/s1600/F2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLGYp36XphyphenhyphenKDe8ub_hkzvg86kbOOFweqfVNnBwQkimWLMl-UOt5PD6KqgiN6_qvM9m0AICPHlgykLiGebZJGKOQKu-qutBERZYuR7wTSmz-c8kOVInL1AWKFVWdYBmNX2UW4CTx2FtZ4/s1600/F2.jpg" height="640" width="636" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em style="line-height: 19px; text-align: start;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;">Renaissance ideal cities inspired by Vitruvius (15th-16th c.) 1. Filarete, 2. Fra Giocondo, 3. Girolamo Maggi, 4. Giorgio Vasari, 5. Antonio Lupicini, 6. Daniele Barbaro, 7. Pietro Cattaneo, 8/9 di Giorgio Martini. [<a href="http://www.spur.org/publications/article/2012-11-09/grand-reductions-10-diagrams-changed-city-planning">source</a>]</span></em></td></tr>
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<span style="color: #262626; font-family: Arial, Helvetica, sans-serif;">Werner
Herzog’s documentary, “Encounters at the End of the World,” has its share of
misfits and oddballs all drawn like lemmings to the polar research station at
McMurdo Sound in Antarctica, in some ill-conceived attempt to “get away,” only
to end up living in closer proximity with other oddballs than they ever would
have if they’d just stayed back home. What sustains and enables them to stay
cooped up inside for months on end is simply the <i>idea</i> of all that space around them, far away from the big bad
world, demonstrating the power of a good concept to overwrite empirical
reality. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kosxMtEwEp4TQ11Q1zkn0StL9TzXkutMLYu-yZ5b-0-bfuz9I4AD8Zz3f0ux841VQfpCcH6VqB47QdCx21lGGTpYx33aDmfnU65CT_PH9OhOfdmyeuW5SFEarjVvGGCddNmi7Jdpxgs/s1600/F18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9kosxMtEwEp4TQ11Q1zkn0StL9TzXkutMLYu-yZ5b-0-bfuz9I4AD8Zz3f0ux841VQfpCcH6VqB47QdCx21lGGTpYx33aDmfnU65CT_PH9OhOfdmyeuW5SFEarjVvGGCddNmi7Jdpxgs/s1600/F18.jpg" height="640" width="486" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em style="line-height: 19px; text-align: start;"><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;">From Hugh Ferris’s “The Metropolis of Tomorrow” (1929)</span></em></td></tr>
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<span style="color: #262626;"><span style="font-family: Arial, Helvetica, sans-serif;">Plato would argue that Ideal Forms are not just in our heads, that
they have a very real existence outside of space and time, and that they are
the models from which our world is built. They prevent us from sinking into depravity
and weekend marathons of <i>Duck Dynasty</i>
by reminding us that we are better than that; that as we careen through life we
should be more honest, more courageous, more compassionate. </span><span style="font-family: Arial;"><o:p></o:p></span></span><br />
<span style="color: #262626;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span style="color: #262626;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com4tag:blogger.com,1999:blog-729872479519980598.post-22521629503452696252014-03-02T09:29:00.001-05:002014-03-05T10:58:18.455-05:00Which one is the Golden Rectangle?<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5sAM7kPH9jwXBVDoxD1w8hfXDV-Ft1unHgkNsJwbJdfJrDahMhcS82y-C9PiUg4WkDUD7s9M192McfIyZiY73VkYALSN4JzTk90eLu3H2cVrNs44geAMTzNJhDvCYU87e6KXuMx7XUA/s1600/Untitled1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ5sAM7kPH9jwXBVDoxD1w8hfXDV-Ft1unHgkNsJwbJdfJrDahMhcS82y-C9PiUg4WkDUD7s9M192McfIyZiY73VkYALSN4JzTk90eLu3H2cVrNs44geAMTzNJhDvCYU87e6KXuMx7XUA/s1600/Untitled1.png" height="444" width="640" /></a></div>
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<span style="color: black; font-size: 12pt; line-height: 150%;"><span style="font-family: inherit;"><br /></span></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt;">Imagine that you are floating inside the center of a very large transparent sphere, like Leonardo’s Vitruvian man above. The yellow area is our normal 60º field of undistorted view. Outside of that yellow field, things start getting weird. </span><span style="font-size: 16px;">Our binocular vision receives two sets of images (our overlapping yellow circles in the illustration above), and sends them back to the brain for processing via the curved camera lenses of our eyes. Through comparison between these two images and a little high-speed triangulation our brains tell us how far away things are. </span><span style="font-size: 12pt; line-height: 150%;"><a href="http://www.amazon.com/An-Introduction-Clinical-Perimetry-Traquair/dp/B00087K370">Harry Moss Traquair</a> described our visual field in 1927 as, "an island of vision surrounded by a sea of blindness." </span></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 150%;"><br /></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 150%;">Numerous
studies by “Golden Sectionists” trying to prove Man’s natural attraction
towards the Golden Rectangle have found that people are just as likely to
choose any horizontal rectangle that roughly conforms to the one that
circumscribes the yellow shape, above [Or roughly 1:1.5, and not the Golden Ratio of
1:1.618]. </span></div>
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<span style="color: black; font-size: 12pt; line-height: 150%;"><span style="font-family: inherit;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUw9RdJ7BV6HIINupXWeydYuvmcVG0TlbsHq6a7kcqQJIDhnuca2UnJdAkbalfELB_8mGSPrLSJxF-l-pVOe7fvahdTEV9ahqVVF6ewSlKc-914ZzV1FXs5Od1RjF5o23dUrpYJaQ8FVg/s1600/Untitled2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUw9RdJ7BV6HIINupXWeydYuvmcVG0TlbsHq6a7kcqQJIDhnuca2UnJdAkbalfELB_8mGSPrLSJxF-l-pVOe7fvahdTEV9ahqVVF6ewSlKc-914ZzV1FXs5Od1RjF5o23dUrpYJaQ8FVg/s1600/Untitled2.png" height="494" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: small;">Which one is the Golden Recatngle?</span></i></td></tr>
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<span style="color: black; font-size: 12pt; line-height: 150%;"><span style="font-family: inherit;"><br /></span></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12pt; line-height: 150%;">Our natural affinity for this shape is possibly its relation to our
undistorted field of vision and not, after all, anything to do with nautilus
shells. </span><span style="font-size: 12pt; line-height: 150%;">See if you can pick out the Golden Rectangle from the
group of quadrilaterals, above. </span></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 150%;"><br /></span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 150%;">[I'll put the answer in the comments, below] </span></div>
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<span style="color: black; font-family: Arial; font-size: 12.0pt; line-height: 150%; mso-bidi-font-size: 10.0pt;"><br /></span></div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com11tag:blogger.com,1999:blog-729872479519980598.post-21253086416730352992014-02-03T10:29:00.003-05:002014-02-03T10:46:15.897-05:00Landscape Painting Lessons from Constable, Gainsborough and Corot<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2jjOW6UZpyIpk_OOaOxUR-W6qEJcdVFYiBgCy8OMExXCYhiGepGfr9UT4LdleHgcgXN3VXMzWsKODwNkP0mdWx2F7jEwSV3h6wfVYOlfbn6FeQ2u1Sksbnr9uxBcoRKB3rnWaQ23rlG4/s1600/Landscape_with_Hagar_and_the_Angel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2jjOW6UZpyIpk_OOaOxUR-W6qEJcdVFYiBgCy8OMExXCYhiGepGfr9UT4LdleHgcgXN3VXMzWsKODwNkP0mdWx2F7jEwSV3h6wfVYOlfbn6FeQ2u1Sksbnr9uxBcoRKB3rnWaQ23rlG4/s1600/Landscape_with_Hagar_and_the_Angel.jpg" height="640" width="520" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: inherit; font-size: small;"><i>Landscape with Hagar and the Angel</i>, John Constable </span></td></tr>
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<span style="font-family: inherit;">There's an anecdote about Constable that shows, apocryphally or not, how revolutionary he was for his time regarding the use of color: </span><span style="font-family: inherit;">"The story goes that [Constable's friend and patron, Sir George Beaumont] remonstrated with him for not giving his foreground the requisite mellow brown of an old violin, and that Constable thereupon took a violin and put it before him on the grass to show the friend the difference between the fresh green as we see it and the warm tones demanded by convention." </span>[Incidentally, <i>Landscape with Hagar and the Angel</i> (above) was Beaumont's favorite painting].</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9eBcZcVuNU1AxWs5vK3UXFunUVqo3FR0-SzD0QLJYXLALHigDqlkDQbOrSotPsxggFqpowyZcVUAOPa55MeBAqtlUzAX-CWMh6mov-ZnIIFVLEtUAwzYljkjHOTKu11DAczGnQv9Tsk/s1600/Claude_Lorrain_008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9eBcZcVuNU1AxWs5vK3UXFunUVqo3FR0-SzD0QLJYXLALHigDqlkDQbOrSotPsxggFqpowyZcVUAOPa55MeBAqtlUzAX-CWMh6mov-ZnIIFVLEtUAwzYljkjHOTKu11DAczGnQv9Tsk/s1600/Claude_Lorrain_008.jpg" height="486" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: inherit; font-size: small;"><i>The Embarkation of the Queen of Sheba</i>, Claude Lorrain</span></td></tr>
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<span style="font-family: inherit;">Of course, Constable wasn't the first to notice that grass is green and violins brown. B</span><span style="font-family: inherit;">oth of them knew that such matching was against the strict requirements of contemporary taste, however, and possibly even aesthetics. The point at issue was a much more subtle one - how to reconcile what we call "local color" with the range of tonal gradations which the landscape painter needs to suggest depth. </span><span style="font-family: inherit;">We find an echo of these discussions in an observation by Benjamin West recorded in <i>The Farington Diary</i>: </span></div>
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<blockquote class="tr_bq">
<span style="color: #444444; font-family: inherit;">"He thinks Claude [Lorrain] </span><span style="font-family: inherit;"><span style="color: #444444;">began his pictures by laying in simple gradations of flat colours from the Horizon to the top of the sky, and from the Horizon to the foreground, without putting clouds into the sky or specific forms into the landscape till He had fully settled those gradations. When He had satisfied himself in this respect. He painted in his forms, by that means securing a due gradation, from the Horizontal line-to the top of his sky, and from the Horizontal line to the foreground. Smirke remarked how entirely all positive colour was avoided, even to the draperies of the figures. Turner said He was both pleased and unhappy while He viewed it, it seemed to be beyond the power of imitation."</span> </span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6MzBz2HkpNawxNbGo_9nnOGFZ0RCVzQBGqpCyElXAdJOL5D-TTJT4ZZo6ZUSgD92fbm1yvtPomYtwQrra0-KRYZHjH9dXuMJeQUuaLInIB4pZp_j90F8iAiTyTME5d4YUWC5uH8037eo/s1600/John_Constable_-_Flatford_Mill.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6MzBz2HkpNawxNbGo_9nnOGFZ0RCVzQBGqpCyElXAdJOL5D-TTJT4ZZo6ZUSgD92fbm1yvtPomYtwQrra0-KRYZHjH9dXuMJeQUuaLInIB4pZp_j90F8iAiTyTME5d4YUWC5uH8037eo/s1600/John_Constable_-_Flatford_Mill.jpg" height="512" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: inherit; font-size: small;"><i>Flatford Mill</i>, John Constable</span></td></tr>
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<span style="font-family: inherit;">These experiments with gradations from a pale blue to a mellow brown by seventeenth- and eighteenth-century artists taught Sir George Beaumont (an amateur painter himself) how to suggest light and distance in a landscape. The eighteenth century had even invented a mechanical device to aid the painter in this transposition of local color into a narrower range of tones. It consisted of a curved mirror with a toned surface that was appropriately often called the "Claude glass" and was supposed to do what the black-and-white photograph does for us, to reduce the variety of the visual world to tonal gradations. Eighteenth-century masters achieved most pleasing effects with foregrounds of warm brown and fading distances of cool, silvery blues.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxLAsU6R5ibzIK95UNSEOkfEpe7PfQqoyqa9NeICfRHvJi_I8fVgkOj8Ka1XNAQTmk6itdXsYsefrBr8RXX9Mdy10fky55QcWV0UUiOXwqh7nkGYMZI4LRqIANgnYMGVvmRR3-ImgynY/s1600/Joshua_Reynolds_-_Lady_Elizabeth_Delme%CC%81_and_her_Children_-_WGA19337.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxLAsU6R5ibzIK95UNSEOkfEpe7PfQqoyqa9NeICfRHvJi_I8fVgkOj8Ka1XNAQTmk6itdXsYsefrBr8RXX9Mdy10fky55QcWV0UUiOXwqh7nkGYMZI4LRqIANgnYMGVvmRR3-ImgynY/s1600/Joshua_Reynolds_-_Lady_Elizabeth_Delme%CC%81_and_her_Children_-_WGA19337.jpg" height="640" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="text-align: start;"><span style="color: #666666; font-family: inherit; font-size: small;">Lady Elizabeth Delme and Her Children, Sir Joshua Reynolds</span></i></td></tr>
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<span style="font-family: inherit;">Looking at Reynolds' <i>Lady Elizabeth Delme and Her Children</i> in the National Gallery in Washington or, for that matter, at Thomas Gainsborough's <i>Landscape with a Bridge</i>, we realize the value of an even gradation based on the brown of the foreground. Indeed, a glance at Constable's <i>View of Salisbury Cathedral</i> convinces us that he, too, achieved the impression of light and depth by modulating tone.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR2Q4DWBJOx6Mt-3KblT7mQywxRLhvbJl2wMtmz6eiW5SkE0xH7UzvUBehGfxSKky1FwVDH2ZTBYKGick1Bsnto9CNgz2I56HstdtiX5PiBOx3sZenDnAkAVzrm5PBt3ulGoReditv1vw/s1600/view-of-salisbury-cathedral-from-the-bishop-s-grounds.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR2Q4DWBJOx6Mt-3KblT7mQywxRLhvbJl2wMtmz6eiW5SkE0xH7UzvUBehGfxSKky1FwVDH2ZTBYKGick1Bsnto9CNgz2I56HstdtiX5PiBOx3sZenDnAkAVzrm5PBt3ulGoReditv1vw/s1600/view-of-salisbury-cathedral-from-the-bishop-s-grounds.jpg" height="498" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><i style="font-size: medium; text-align: start;">View of Salisbury Cathedral, </i><span style="font-size: small; text-align: start;">John Constable</span></span></td></tr>
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<span style="font-family: inherit;">Constable questioned the need to remain within the compass of one scale. He wanted to try out the effect of respecting the local color of grass somewhat more-and, indeed, in his </span><span style="font-family: inherit;"><i>Wivenhoe Park</i> he is seen pushing the range more in the direction of bright greens. Looking at Wivenhoe Park now, it looks so natural and obvious that it's easy to forget its daring originality.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiShrcv4eFPHU2FNh9G92OTKkYcOA3LD2N2N1xXXfAd8x_5PUs6tLXr6jx3igzYzzTz1XHXdSnIj9G0WNLSm8rwh0F2ncPb3mtB9oQT_HEvy2xE_99JtoDlcTIfJ1UJlWvTzzp_swtFHlo/s1600/John_Constable_028.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiShrcv4eFPHU2FNh9G92OTKkYcOA3LD2N2N1xXXfAd8x_5PUs6tLXr6jx3igzYzzTz1XHXdSnIj9G0WNLSm8rwh0F2ncPb3mtB9oQT_HEvy2xE_99JtoDlcTIfJ1UJlWvTzzp_swtFHlo/s1600/John_Constable_028.jpg" height="346" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: inherit; font-size: small;"><i>Wivenhoe Park</i>, John Constable</span></td></tr>
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<span style="font-family: inherit;">Once we realize this basic fact, the master's contention that all paintings should be viewed as experiments in natural science loses much of its puzzling character. He is trying to produce what he called the "evanescent effects of nature's chiaroscuro" on canvas, within a medium which excludes matching. Indeed his experiments resulted in discoveries. For instance, there was resistance at first against so much green, which was thought to upset the needed tonal gradation. </span></div>
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<span style="font-family: inherit;">There is a story about Constable's sitting on the jury of the Royal Academy, of which he was a member, when by mistake one of his own paintings was put on the eascl for judgment, and one of his colleagues said rashly, "Take that nasty green thing away." </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9umRet7iUSdy7eRQbBagdrFGfqCtV7pO8mPB0Xf18MqW37hO9U6MX3XE1Vsmso6DKyYMZU-8WI0qiAY58CigAB2qbUY7GAFihccdjTzrCxSMpJtGK9tq-P1XpWBkXoxwUPssIuMFu1AU/s1600/a-landscape-with-cattle-and-figures-by-a-stream-and-a-distant-bridge-thomas-gainsborough.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9umRet7iUSdy7eRQbBagdrFGfqCtV7pO8mPB0Xf18MqW37hO9U6MX3XE1Vsmso6DKyYMZU-8WI0qiAY58CigAB2qbUY7GAFihccdjTzrCxSMpJtGK9tq-P1XpWBkXoxwUPssIuMFu1AU/s1600/a-landscape-with-cattle-and-figures-by-a-stream-and-a-distant-bridge-thomas-gainsborough.jpg" height="524" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;"><span style="font-size: small; text-align: start;"><i>Landscape with a Bridge</i>, </span><span style="font-size: small; text-align: start;">Thomas Gainsborough</span></span></td></tr>
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<span style="font-family: inherit;">A quick walk walk through any major gallery shows that in the end Constable's method found wide acceptance. </span>We know that when his <i>Hay Wain</i> was shown in Paris, French artists were stimulated to repeat his experiments and lightened their palettes. <span style="font-family: inherit;">We can now read much brighter pictures, such as the landscapes by Corot and, what is more, enjoy the suggestion of light without missing the tonal contrasts which were thought indispensable. We have learned a new notation and expanded the range of our awareness.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjnqmTpJFX9e5DWH2lK_nd6QX-iJYi7Zzm1yXfriPlG2uzG5YPz6BKrrLsjQz8hXMwIoPJ3lSwTPuFsj_ubr0Ulvv51QqF71p1e5fQCjWz3s2li7-Tx5caOHzsg2fe4ci_7Ig-AzogAw/s1600/Corot.villedavray.750pix.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjnqmTpJFX9e5DWH2lK_nd6QX-iJYi7Zzm1yXfriPlG2uzG5YPz6BKrrLsjQz8hXMwIoPJ3lSwTPuFsj_ubr0Ulvv51QqF71p1e5fQCjWz3s2li7-Tx5caOHzsg2fe4ci_7Ig-AzogAw/s1600/Corot.villedavray.750pix.jpg" height="472" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666; font-family: inherit; font-size: small;"><i>Ville d'Avray</i>, Corot</span></td></tr>
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[The previous passage was excerpted from Ernst Gombrich's <i>Art and Illusion</i>]</div>
Alanhttp://www.blogger.com/profile/15409604820178478573noreply@blogger.com0