i think consistency tells more about one's work than rightness on
wrongness
The identity of the artist in their work has significance,
mando
On Sep 22, 2009, at 9:01 AM, Chris Miller wrote:
There's something wrong about every figurative representation. You
only have
to look closely enough. But a representation has been successful
when you're
thinking about something else.
Of course, there are always some people who can't (or won't) follow
where
artists can go - and that's what you're doing as you notice that
"There's
something wrong about the noses in Greek Classical Art". Though,
presumably,
you could also ignore that concern if you wished (some people can't
- like Ayn
Rand when she complains about the grotesque wrongness of all Medieval
sculpture)
The rightness of a life drawing (or sculpture) is not contingent on
specific
rules, because so many different rules (pertaining to measurement
and style
and to media techniques) can be successfully applied.
And if it appears that no rules or disciplines have been applied
-- as with
the work of children -- then rightness/wrongness is not even
relevant.
But once a discipline has been felt, rightness/wrongness becomes a
primary
issue in the representation of a human figure.
Or, at least, that's my (un-proven) theory regarding most people.
(including
myself -- though I would say "the painting is wrong" rather than
"the nose is
wrong")
........................................
What is any discipline of life drawing? There's something wrong
about the
noses in Greek Classical Art, so how is that the Greek Profile
became so
commonplace in academic art? Incidentally, there's something wrong
about
almost all of Classical Greek art with respect to anatomic
accuracy. The
Greek
artists relied on tradition, purpose, and external observation and
not on
the
internal facts of anatomy or strict objectivity. They made highly
distorted
figures for both practical and expressive purposes.
The reason people can tell if the nose is wrong, but probably not
be able to
tell if the arm or toes are wrong has to do with the relatively
large area of
the human brain devoted to face recognition.
If you say, "Depict the human body according to these
rules" (whatever rules
you list), then when the result does not conform to those rules,
the result
is
wrong. Academic life drawing instruction often followed such rules
-- both
pertaining to measurement and style and to media techniques. Why
is this an
interesting issue?
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