But isn't linear perspective better described as a learned model for
encoding and decoding visual images rather than a matter of taste. One
could teach Western perspectives to an art student even though the teacher
preferred, as a matter of taste, an Asian perspectival approach which does
not diminish the size of the elements upon distance.
Mike Mallory
----- Original Message -----
From: "William Conger" <[EMAIL PROTECTED]>
To: <[email protected]>
Sent: Thursday, April 03, 2008 2:54 PM
Subject: Re: What does the art teacher see ?
I must interject here to say that the usual vanishing
point perspective is a visual code that reflects a
"taste" or preference for one particular way to
project 3-d space on a flat surface. Perspective is
not science or truth re vision. It is a system based
in geometry. It is false in demonstrating reality,
even if we close one eye. (I've commented on how we
really see before, citing professional sources, but am
always ignored).
The rail tracks do not meet in the distance except in
perspectival, fantasy space. The tops of level
buildings don't tilt to the ground. People in the
distance are not really tiny. I agree with Miller
here. You can't exclude taste from art instruction,
even if you teach one taste today and another
tomorrow. There are other perspective systems that
don't rely on the vanishing point. It depends on your
taste.
WC
--- [EMAIL PROTECTED] wrote:
I'll keep this short, making myself stick to one
example.
When I was a boy the only "artists" I was familiar
with were Hal Foster,
Milton Caniff, Alex Raymond, Willy Pogany, Al
Hirschfeld, Norman Rockwell, and,
thanks to the library, George Bridgman. (You have to
forgive me a little bit
because I lived in a small Connecticut community
with no art school and not
even a museum.)
I wanted to do what those "artists" did. So I went
to that good old library
and took out books on "drawing". One of the things
I learned with happy
astonishment was the "laws" of perspective. (They
were much easier to learn than
Bridgman's "The Seven Law of Folds".)
Here's my question for Chris. Given my philosophy of
language positions, I
grant you can inflate the word 'taste' to cover damn
near anything, but with
your honest notion of "taste" I ask this:
Accepting that many art schools
have quickie courses on perspective, do you really
believe that all the art
schools ever teach is "taste"?
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