CHRIS,
The edges does not refer edges alone, but every thing that is not
part of
the painting in the center, which would make the mark No 6.
In sculpture, being 3 dimentional the problem multiplied by the four
sides
an far as the eye can sense and every the between the forms .
mando
On Oct 5, 2008, at 5:59 AM, Chris Miller wrote:
Looks like I'm in a minority here -- a minority of one among all those
involved here in the visual arts.
Everyone who studied painting in a 20th C. art school is convinced
about the
importance of the precise location of everything on a painting -
especially
its edges.
And 20 years ago, I would have agreed with them -- but the more
I've looked
around, the more counter-examples I have found.
Even in Europe's most famous painting, the Mona Lisa -- because
portraits are
so much about the visual impact of the human face. (isn't there a
specific
area of the brain that processes that kind of information?)
If Leonardo had bungled the face -- especially the eyes -- that
painting
wouldn't even be attributed to him -- but who cares what happens
around its
edges. (and the Louvre site notes how he didn't finish one of the
fingers)
Also in Chinese calligraphy where the focus is so strongly on the
execution of
each individual character. It does seem that the greatest masters
are those
who carefully attended to the spaces between them -- but the
tradition allows
anyone who buys the piece to fill those spaces with their red marks of
identification. At first I thought this was a sacrilege -- but
eventually I
realized that that the resulting chaos kind of emphasizes the
precision of
the original strokes.
There's a lot in most paintings that could have done this way -- or
it could
have been done that way -- and it really doesn't make much
difference. That's
why some areas are so slap-dash (in pleasant contrast to the areas of
precision) -- and why so much of so many European paintings done
before the
19th C. were executed by studio assistants. The master's touch is
not needed
everywhere.
But every artist should stay true to the teachings of his own
school -- so if
William, Boris, and Mando are agreeing with Hans Hofmann, that's
how it should
be. That's how traditions are maintained.
***********
"To me , the totality of the art is what counts. Even concertos are
not
complete until every note is in it's proper space to the composer.
No space is meaningless"
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