![]() It does so in a way that strengthens the edge. Where it curtails or elides subject matter. The border as absolute limit is confirmed in easel art up to the nineteenth century. Its limiting security completely defines the experience within. For this process, the stability of the frame is as necessary as an oxygen tank is to a diver. The eye is abstracted from the anchored body and projected as a miniature proxy into the picture to inhabit and test the articulation of its space. the greater the illusion, the greater the invitation to the spectator’s eye. One “steps” firmly into such a picture or glides effortlessly, depending on its tonality and color. The perspective positions everything within the picture along a cone of space, against which the frame acts like a grid, echoing those cuts of foreground, middleground and distance within. ‘The frame of the easel picture is as much a psychological container for the artist as the room in which the viewer stands is for him or her. In his now classic text Inside the White Cube, the Irish artist Brian O’Doherty argues that attitudes, began to shift in the 19th century as the edge of the painting began to draw attention to itself. Despite some attention to the mode of display, this model did not radically alter until the late 1930’s. In the salon method of display larger paintings were placed higher up and smaller ones lower down arranged floor to ceiling. This may be where O'Doherty has a point about the white cube, as this often not the case. I think it is important to not that each piece of art may require a more individual or nuanced touch when displayed. So even though it is surrounded by other decorative items, the fact that it was chosen to accompany them ads to the aesthetic as a whole and I believe it would still capture the eye of the viewer, but as the context is now different, they may not spend as much time contemplating the meaning or intentions of the painting as much. ![]() I still see it's importance here, as most of will be quite considerate when choosing art for the walls of our homes. When the painting is placed with other objects or as a decorative piece on the wall, it does take on a slightly different meaning. The warm light from the incandescent room lamp also worked well on the painting, as it enhanced the warm reds and pinks on the canvas well. As the composition is already lighter at the top, lighting it from above feels too amplified and harsh. The low angled light makes the image feel more intimate in a way, as though the viewer is sneaking a peak at the subject from below. Experimenting with specific spot lights also showed good results and it is useful to see how changing the spot light from a high to a low angle changes the mood of the painting slightly. The direct natural light when the painting is on the floor had the most illuminating effect which allows the vibrant colour and impasto knife strokes to stand out. My experiments with lighting it in different ways was also interesting. I could see how that would be valuable in a museum or even a gallery, especially if you wanted the viewer to contemplate the work. As that is the only thing in that area, your eyes are drawn to it without distractions. In the images where the art work is isolated to the blank wall it does give it greater sense of importance. All the walls and floors are an off-white cream colour which don't really have too much control over. As I am in a smaller rental apartment there was only so much I could experiment with. This is an oil painting I created a few years ago. The context was thus irrelevant to what was being represented. The hermetically sealed artwork created an illusion that absorbed and transported the spectator from the space in which the work was viewed into the subject of the work. In these exhibitions, the artist would not be involved in the decisions regarding how the work would be presented or viewed – the distance between one work and another, what the work was shown next to, or the space in which it was shown were not considered relevant to its meaning. The salon was originally the name of exhibitions organised by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) succeed by the Academy of Fine Arts (Académie des Beaux-Arts) in Paris. ![]() From the 18 century until the Modern period, Western painting and sculpture were often shown in a salon – a large mixed exhibition. ![]() The ubiquitous white cube gallery, now the dominant model for showing art, is a fairly recent invention. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |