left Moronobu Mikaeribijin
center Woman Carrying a Vase | The
Metropolitan Museum of Art
right
Vasarely pebble series
Disregarding art history and looking only the image at taste judgment, they look like the same kind.
About Moronobu and Vasarely I have already written blogs:
[ "Beauty
Looking Back", the structure of modeling beauty.] and
“Pure abstract painting conditions
(proportional is an integer ratio) / Vazarely [pebble series]”
So I use the same models from the blogs.
This was made up of a circle and its vertical and horizontal diameter unit before
devising the framed circular cross model.
the Persian painting in the middle, which is well known because it is in
the collection of the Metropolitan Museum of Art.
First, let's make an arc model.
Woman Carrying a Vase | The
Metropolitan Museum of Art
arc model
Circles of the same size have their respective roles.
Largest circle (dark red) hanging shawl and lower
part of the dress
the second largest circular (pink-green) dress, one of which
passes through the center of the screen.
The third largest circle (blue) the largest movement and is
used from the center to the top of the screen.
The fourth largest circle (pink) he largest circle, with a sharp
bend.
Stravinsky was
a man who coolly saw the end of music history and dared to use anomalous
techniques to explore the few possibilities that still remain.
Schoenberg, on
the other hand, resolutely tried to advance the history of music, even if he
stepped into the wilderness where no one would listen to him anymore.
(Western music
history Akeo Okada)
A) sufficient notated
works at hand.
B) Hanslick's theory
“the content of music is the structure of sound"
Likewise artists need these condition;
A)) reproductions.
B) formal theory “The content of art
is form”.
Even though these conditions are met,
the current art seems t0 be stagnant.
Let me suggest what went wrong.
abstract painting is the final form of representational painting, and is developed into
geometric abstraction and non-geometric abstract painting.
This theory neglects the fact that representational works give us the same artistic sensation .
We can see a thing in two ways: sign-seeing and shape-seeing.
Visual Grammar is about shape-seeing.
The innate ability to see a shape is that we tend to see it in simplified
contour:
The succession of arcs.
The way to see a contour curve is not analogue but digital, which makes innate Visual Grammar.
If all works are visually recognized as shapes, then a geometric model of that shape can be made.
We can compare by looking at digital images that are not related to the
times and places. (cf. the blog "Upside down jade at the Met")
Only when we know how much ingenuity has been made so far
We can see if there is a future in plastic arts.
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