Miller, you don't know much about painting or its history. All through western art and other art, too, the artist has always paid attention to the composition, and the composition ends at the edges of the canvas, so those edges are crucial. Hofmann was simply reinforcing that obvious concern. Artists who ignored their compositions were either dumb and happily forgotten or they were dumb and became stars in the midst of decandnce. But the viewer usually how the composition functions within the framing edges of the canvas, if they know anything at all about looking at paintings ...and not many do.
WC --- On Wed, 10/1/08, Chris Miller <[EMAIL PROTECTED]> wrote: > From: Chris Miller <[EMAIL PROTECTED]> > Subject: Re: Marks on Canvas > To: [email protected] > Date: Wednesday, October 1, 2008, 9:38 AM > Did Hoffman think this applied to any kind of stretched > canvas painting other > than his own? > > In some portrait and figure sketches, for example, it would > seem that the > edges of the canvas were the last marks the painter thought > he was making. (if > he ever gave them any consideration at all - other than to > ignore them) > > **************** > > > >Yes, It was Hans Hofmann. There's a reference toit > in my Wm. Seitz' > catalog re Hofmann's show at MOMA in 1963. I saw that > show. I also recall > Hans Hofmann saying something similar tome in Sept. 1965 in > Provincetown when > I had a nice conversation with him. It's one of his > most famous sayings, > perhaps second only to "push and pull". > > ____________________________________________________________ > Click here to save on car rentals. > http://thirdpartyoffers.netzero.net/TGL2231/fc/Ioyw6ijmhQ3FSpVow8FDk77UdQ3VtR > QHz97c2ThYgrvLJkywTRzR1y/
