I entered this discussion because you had questions about the phrases "visual literacy" and "formalist credentials" and I just tried to inform you about what those phrases commonly refer to. I've even heard terms like those used in a pejorative sense as in that case of my instructor who was told that he had mastered all these formal techniques and couldn't seem to say anything with them. These are aspects of the psychology of vision that we use to see form, space and color that virtually all humans share. This is why I call them truths. Do you have to employ them all in artworks to make a good work of art? No. I like Frank Stella's minimalist paintings and there is no perspective. He's still called a formalist. The formal aspects of visual art are just the nuts and bolts of all artworks. They don't always add up to a great work of art.
On Feb 10, 2009, at 4:33 PM, Chris Miller wrote:

I'm still not seeing any "definable and measurable truths" here that aren't trivial - since there are so many kinds of pictorial space and perspectives that might be applied in them. Can't we even say that each painting is sui generis ? -- even among those Renaissance paintings where new rules of linear perspective were introduced -- those rules seem to be broken at will -- for
reasons that might be called 'aesthetic'.  (I remember examining the
perspective in Titian's "Venus of Urbino" with some doctrinaire neo- academics
a few years ago)

Perhaps one could say that the aesthetics of pictorial space are universal -- since a modern aesthete might have the same preferences as an ancient king in a very distant land (and who doesn't admire the choices made by Akbar the
Great ?)

But the reasons for those preferences seem to lie outside any "definable and
measurable truth"

(BTW --- the images that David just shared are too ugly for me to contemplate, regardless of whatever truths of perspective they may be exemplifying.)



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