Учебно-методическое пособие для студентов специальности «Дизайн»
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Sugonyako
| Bell J. C. Perspective // The Dictionary of Art / еd. by J. Turner. Vol. 24: Grove’s Dic-
tionaries Inc. New York, 1996. P. 485–490. Text 8 The space created by means of linear perspective is closely related to the space created by photography, the medium we accept as representing “real” space with the highest degree of accuracy. The picture drawn in perspective and the photograph both employ a monocular, that is, one-eyed, point of view that defines the picture plane as the base of a pyramid, the apex of which is the single lens or eye. Our actual vision, however, is binocular. Painters can make up for the distortions in ways that photographers can- not. If the artist portrayed in Durer’s woodcut “Draftsman Drawing a Reclin- ing Nude” were to draw exactly what he sees before his eyes, he would end up with a composition not unlike that achieved by Phillip Pearlstein in his water- color “Model on Dogon Chair, Leg Crossed” (1979), a nude whose feet and calves are much larger than the rest of her body. Pearlstein deliberately paints exactly what he sees, in order to draw our attention to certain formal repeti- tions and patterns in the figure. Note, for instance, the way that the shape of the nearest foot repeats the shape of the shadowed area beneath the model’s buttocks and thigh. But Andrea Mantegna was not interested at all in depicting “The Dead Christ” (1501) with disproportionately large feet. Such a represen- tation would make comic or ridiculous a scene of high seriousness and conse- quence. It would be indecorous. Thus Mantegna has employed foreshortening in order to represent Christ’s body. In foreshortening, the dimensions of the closer extremities are adjusted in order to make up for the distortion created by the point of view. As we saw in the Pearlstein watercolor, modern artists often intentionally violate the rules of perspective to draw the attention of the viewer to elements of the composition other than its verisimilitude, or the apparent “truth” of its representation of reality. In his large painting “Harmony in Red” (1908– 1909), Henri Matisse has almost completely eliminated any sense of three- dimensionality by uniting the different spaces of the painting in one large field of uniform color and design. The wallpaper and the tablecloth are made of the same fabric. The chair at the left seems abnormally large, as if very close to our point of view, yet its back stands at the same height as the chair between the table and the wall. Shapes are repeated throughout: The spindles of the chairs and the tops of the decanters echo one another, as do the maid’s hair 128 and the white foliage of the large tree outside the window. The tree's trunk re- peats the arabesque design on the tablecloth directly below it. Even the win- dow can be read in two ways: It could, in fact, be a window opening to the world outside, or it could be the corner of a painting, a framed canvas lying flat against the wall. In traditional perspective, the picture frame functions as a window. Here the window has been transformed into a frame. What one notices most of all in Paul Cezanne’s “Mme. Cezanne in a Red Armchair” is its very lack of spatial depth. Although the arm of the chair seems to project forward on the right, on the left the painting is almost totally flat. The blue flower pattern on the wallpaper seems to float above the spiraled end of the arm, as does the tassel that hangs below it, drawing the wall far forward into the composition. The line that establishes the bottom of the base- board on the left seems to ripple on through Mme. Cezanne’s dress. But most of all, the assertive vertical stripes of that dress, which appear to rise straight up from her feet parallel to the picture plane, deny Mme. Cezanne her lap. It is almost as if a second, striped vertical plane lies between her and the viewer. By this means Cezanne announces that it is not so much the accurate represen- tation of the figure that interests him as it is the design of the canvas and the activity of painting itself, the play of its pattern and color. Sayre H. M. A World of Art // Prentice-Hall, Inc.: Upper Saddle River. 3 rd ed. New Jersey, 2000. P. 103–106. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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