online pdf Secret Knowledge Rediscovering the Lost Techniues of the Old Masters AUTHOR David Hockney – dedelicate.com
online pdf Secret Knowledge Rediscovering the Lost Techniues of the Old Masters AUTHOR David Hockney – dedelicate.com
One finds in Velazuez And it explains perhaps best of all the mask and chandelier in Vermeer s Art of PaintingThis book is remarkable for the creative thinking it inspires about optics technology and the creative process itself Interesting study into some of the techniues of the old masters It turns most of them were probably entrepreneurial than artistic In the early 1400s there is a sudden rise of photo realism in Flemish painting Hockney posits that this is bc of the se of lenses and mirrors He goes on to explain how medieval artisans essentially embraced automation by obviating the need of sketching the subject they were going to paint In the past this was a painstaking task of eyeballing where the artist would have to employ their best draftsmanship skills to jot down their subject which was extra difficult if it subject was live of moving Through the The Playboys Virgin (Australian Playboys use of mirrors and lenses the subject is projected onto the artists canvas where they can simply trace the outline and makeick annotations This was revolutionary on two fronts it drastically speed The Creed Legacy (Montana Creeds, up the painting process and drastically improved the photo realism of paintings especially of human subjects This allowed artists and their studios to churn out a lot commissions However this shortcut also comes w tell tale side effects which Hockneyses to expose them artists we revere from Van Eyck all the way down to Rembrandt and Caravaggio Notable exceptions to the lens crazy that took over renaissance Europe was Michelangelo and Rubens who stayed purists respectI would also be wanton if I didn t highlight one of Hockney s main sentiments throughout his expose the artist makes the marks not the lens He is very clear in that he loses no respect for the old masters in that at the end of the day they still have to compose the piece and execute itIt was also interesting to see Caravaggio s hallmark style that is romanticized as Chiaroscuro which spread throughout the world is just a technical side effect of the heavy se of opticsI would end this review with the little bit of latin I learned from the Rush movie Nihilo sanctum estne This handsome publication sets down for the record David Hockney s long and detailed exploration of the techniues and technologies that may have been sed by the great masters of European painting He concentrates on the 500 year period from the beginning of the fifteenth century to the end of the nineteenth century In the process one is led to a complete re evaluation and re appreciation of their workThe journey was not simple or straightforward It began with a close examination of Ingres and a The Millionaires Seductive Revenge (Australian Millionaires, uestioning of the techniuessed for certain The Drifter ualities found in his work Hockney suspected that certain optical devices were necessary for the artist to achieve some of the effects produced By examining the changing styles of the the great masters during this 500 year period Hockney came to the conclusion that the techniuessed were kept secret for good reasons economic ones for starters but also social ones and the strong presence of mediaeval beliefs that preferred to believe in satanic influence rather than a purely mechanical device dealing with optics meant that being too open about the magical Up Close and Personal ualities achievable by various types of mirrors and eventually lenses could have dangerous and deadly conseuences Roger Bacon for one suffered by being accused of a non salutary reliance on diabolic contraptions capable of creating magic Hockney began collecting earlier 12th and 13th century texts which from today s perspective are highly suggestive that special optical devices were familiar to those in the know A result of all these mindsets was that artists effectively remained protective and secretive about the devices and techniues they might havese for their works This further resulted in later admirers of their works developing the Romantic concept that these artists were solitary geniuses who had the gift and talent to achieve astonishing effects simply through the acuity and accuracy of their visual and manual techniues It is perhaps this. Aders on a journey of discovery as he builds a case that mirrors and lenses were sed by the great masters to create their highly detailed and realistic paintings and drawings Hundreds of the best known and best loved paintings are reproduced alongside his straightforward analysis Hockney also includes his own photographs and drawings to illustrate.
Pointed out some necessary things for a painter to realize I sort of nderstood in general terms that old masters sed particular techniues to produce some of the most realistic looking paintings ever made but this told of those on the specific level when and why they sed them and most importantly how Optics played an important role in the development of old masters techniues and how those really shaped the reasoning and purpose of painting from the 17th century of painting to now Hockney does an excellent job of piecing together a chronology of the historical The Cowboys Valentine (Crooked Valley Ranch use of optics for art making most specifically in pre impressionistic painting One of the best books about art because there is a specific theory directly tied to how artwork is created and then many illustrations are deployed to prove the theory Topics like biography motivation symbolism etc are put to the side to focus on how artists see The discussion on drawing with camera lucida is interesting as Hockney bringsp the concept that certain lines look confident but also he can see duration of time in lines which lines were drawn at certain speeds Hockney has a good writing voice but he only The Billionaires Unexpected Heir (Illegitimate Heirs uses the necessary amount of text relying on the paintings themselves to show not tell The theory reframes art history the last 1000 years is the optical era and what we consider modern art Cezanne Van Gogh cubism is actually reverting to the pre optic view of the If you are at all interested in looking at paintings this book is THE MUST It will totally change your outlook The crucial book on painting Great bookI love controversy especially when it targets the art world when it stirsp the way we perceive and look at great masterful works of art when it throws a whole new massive spanner into the worksOptics or eyeballedThat is the The Courage to Love Her Army Doc uestionI thoroug Remarkable Hockney convincingly demonstrates that starting around 1430 artistssed optical devices to capture figures and landscapes realistically This accounts for distortions in perspective and Caravagio like shadows because of the strong light needed to se lensesImpressionists and post impressionists wanted to do something new and so became post lens artists This is a subject that has profound implications for the translation of three dimensional reality into two dimensions as is done in representational painting and has huge relevance to our era of photographic video and film images The binocular eye and the single eyed camera see things differently Researched and written by British artist David Hockney this is a compelling book which explores the how of painting historically Hockney s thesis is that artists particularly those working in the Dutch and Flemish heyday like Van Eyck or Rembrandt were aided by lenses optics and mirrors to help them craft realistic artworks In this visual essay Hockney proposes that these high tech methods date back hundreds of years further back than the common conception among art historians The book reads as if you stumbled into a college lecture and witnessed an incredibly moving account of history by a person so enthralled by a topic that you couldn t help but feel enthralled tooRecommended for art history and museum going nerds This is one of the most remarkable books I can recall ever reading about any subject It is so iconoclastic and written with such authority by a person so accomplished as a practitioner in the field he examines that the experience it provides is niue and the euphoria it induces is realBeginning with Van Eyck and heading forward through most every painter of note Caravaggio Velazuez and Vermeer most of all they all Tender Love used optics lenses specifically to accomplish the miracles they created This technology explains the bounding forward that painting did in the Renaissance and afterwards It explains how masters like Caravaggio did what they did with no drawing and Caravaggio s sudden depiction of deep shadows laughing faces and left hand dominant subjects It explains the multiple vanishing points weird bodies and white tablecloths over patterned tablecloths. Join one of the most influential artists of our time as he investigates the painting techniues of the Old Masters Hockney’s extensive research led him to conclude that artists such as Caravaggio Velázuez da Vinci and other hyperrealists actuallysed optics and lenses to create their masterpiecesIn this passionate yet pithy book Hockney takes re.
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Latter view that proved most difficult for Hockney to counter People even today feel that A Regency Captains Prize using optical devices for effects somehow implies cheating on the part of the artists Hockney takes pains to point out that that this is simply a misunderstanding it still reuires wonderful skill and expertise to produce masterpieces these of optical devices does not make this less of an achievementThe book is presented in three parts The first part consists essentially of exuisitely reproduced paintings and drawings and their details all a joy in themselves The second part is a collection of historical documentation which suggest that special techniues were known to certain people and that they could and were The Bridal Bed used to great effect The third part of the book presents notes correspondence faxes etc between Hockney and various experts in the fields of art art historians and experts in the field of optics It reads much like a detective story The discovery in particular that a 6 cm concave mirror acts precisely like a lens it projects pictures in the right light conditions was a break through momentHockney has presented his arguments in this format to show that in his opinion not only did the artists of the dayse whatever deceive they could lay their hand on to help them inter endeavours but also that it is obvious when one realises this fact He also opines that Photography late 19th century and nowadays digital imaging late 20th century will also provide a new lease of life for painting in ways yet to be imaginedThis book makes you look again with renewed insight and excitement into the world of the great European artists one will never again be able to view their works in ite the same way again but this is not to be taken in a negative way far from it we see these wonderful works in anew light that is both revelatory and stimulating I came to this via the film Tim s Vermeer and the excellence of my county libraryWell this is certainly not a book one could read on a Kindle Hockney works a compelling example of show don t tell though to be fair he does both The book opens with a long section of large format and well reproduced pictures of paintings essential to and the foundation of his arguments goes on to a section of select otes from historical documents about the The Lawman and the Lady uses of mirrors and lenses from Roman times onward theote from Seneca had me giggling in this age of internet porn indeed there is no new thing Infamous Bargain under the sun and concludes with Hockney s correspondence with various colleagues that tracks the development of his theses and this very book recursivelyThis last again allows the reader to see the ideas taking shape As a kind of early e mail Hockney and friends evidently conducted a lot of their exchanges via faxed letter speaking of the effect of technology on well everything It is not only due to the fact that most of the participants were trained older academics that the letters are so polished and coherent and camera ready If the same correspondence were conducted after e mail the exchanges might well have been collouial cutp and fluid I am put in mind of the shift between mail and e mail with one of my own overseas correspondents Our paper letters went easily into a later article I don t think one could do that with our later e mails or at least they d take a hellalot editing I also saw my own experience of kicking half formed ideas around with friends paving their way for later public The Ranchers Surprise Triplets utterances all part of the process Hockney lets you see the sausages being made It also spedp the production of the book I expect for a busy artist who likely wanted to get back to painting by thenThe news to Hockney passed on by his tame optical physicist that concave mirrors could produce projections seemed as much news to me as to him The Bull Riders Redemption (Angel Crossing, Arizona, until I reflected on telescopes and all those articles I d read for example about the 200 inch Palomar mirror being ground But I never made the last connections either Made me feelite IvanishIn my prior exposures to art history the material mostly rolled off me this I think will stickTa Techniues sed to capture such accurate likenesses Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought provoking book that will forever change how the world looks at art Secret Knowledge will open your eyes to how we perceive the world and how we choose to represent it.
David Hockney was born in Bradford England on July 9 1937 He loved books and was interested in art from an early age admiring Picasso Matisse and Fragonard His parents encouraged their son’s artistic exploration and gave him the freedom to doodle and daydreamHockney attended the Bradford College of Art from 1953 to 1957 Then because he was a conscientious objector to military service h