Учебно-методическое пособие для студентов специальности «Дизайн»
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Text 9 Many of the rules and factors that govern our perception of the world gov- ern our perception of works of art. The system called perspective is directly based on this principle. This rests on the idea that, because light travels in straight lines, it is possible to locate the position of any point on any object seen in space on a plane lying between the object and the eye. If both the eye and the plane remain still and the color of each point matches the sensation, the result is an accurate representation of what is seen. That is, the same image is presented to the eye by the points on the plane as by the points in space. Needless to say there are differences. The most important is that you have two eyes looking at the world from slightly different points of view all the time; these eyes focus, like the lens of a camera, so some points may be more sharply focused than others. The brain interprets these differences, as well as the way shapes and relationships change as you move your head, in terms of distance. The picture, being fiat, cannot offer the same differences but the ef- fect of the fact that objects become smaller as they move further away, which perspective reproduces, is enough for most of us to be able to interpret the space in pictures even when we are not looking at them from the original or correct distance. 129 Other facts of perception are common to both paintings and objects. One of these is the effect of contrast. Colors that are “opposite” make each other look stronger if placed close together. This is an effect of the nervous system and will be the same for most people. On the other hand it has been conjec- tured that distortions, such as elongated figures or strange colors that appear in certain painters’ work, are a result of defects or oddities of their eyes. Against this it can be argued that if a painter sees people as taller than others do, then he will see his own painted images of people lengthened and so would have to give his painted figures the same proportions as other painters would in order for them to look as he sees them. The same applies to color and to the effect of color contrast mentioned above. It is unnecessary to paint contrasting colors more strongly when they are together on a canvas because the eye produces the effect, without any help, as it looks at the painting just as it does when it looks at nature. However, there may be a point in trying to paint the effect of what is seen rather than just to produce an image that will produce the effect. This is be- cause our attitude to works of art is different to our attitude to nature. We ex- pect pictures to correspond to what we know about the appearance of things rather than to correspond exactly to the appearance of things. We can easily understand, for example, the outlines that appear in drawings even though they do not exist normally in nature. Curiously, the difference between the way we look at paintings and the way we look at nature may be used to teach us what in a sense we already know but ignore or think of wrongly – in other words it may effect consciousness. An example is that Impressionist paintings allowed people to “see” correctly what they had been missing for a long time: that the color of shadows depends on the colors of the light and of the surrounding ob- jects. Another rather different example is also that of perspective. Although objects far away look smaller – indeed they are projected on to the nerve end- ings in the back of the eye in this way – we do not see people shrink when they walk away from us. The nervous system has means for compensating for this effect in ordinary circumstances. The practice of perspective taught people to see the changes that take place in such circumstances. But we are never quite convinced; we see ovals in a painting as round plates if they are placed on tables drawn as trapezia and we can still do so even if we are looking at the picture from an angle so that the shapes in the picture are themselves distorted: so we both see and do not see the distortions. As soon as we become con- scious of the contradiction we understand more about how we interpret our sensations of the world in order to live in it. The practice of Abstract art began partly as a result of artists trying to paint what scientists and philosophers were writing visual perception. Among these theories was the proposal that specific 130 colors could directly affect the feelings of a viewer in specific ways that were independent of the associations of the colors. Similar ideas were related to lines and shapes, and to combinations of these. In general these ideas have not been borne out either by scientific experiment or by experience, except per- haps at a very crude level. Painters have continued to paint Abstract pictures but they are as far as ever from deploying a range of scientifically proven de- vices to play on the emotions of the viewers. Compton M. Painting and visual perception // The Encyclopedia of Visual Art. Vol. 10: Encyclopaedia Britannica International. London, 1994. P. 22–25. жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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