tag:blogger.com,1999:blog-7658518583188826551.post4716123638509490559..comments2024-03-28T06:33:54.252-04:00Comments on Studio and Garden: A Fixed Point of ViewAltoon Sultanhttp://www.blogger.com/profile/16743040814034732581noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-7658518583188826551.post-76857787619860062172013-03-15T01:22:27.440-04:002013-03-15T01:22:27.440-04:00Yes, Altoon, read about it in the NYRB. One of the...Yes, Altoon, read about it in the NYRB. One of the things I miss most about London is the National Gallery. Khair...<br /><br />Do write about it if you end up going!<br /><br />Keep well,<br /><br />b.<br /><br />billoohttps://www.blogger.com/profile/10716970909272480118noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-4196403852081712982013-03-14T10:11:01.849-04:002013-03-14T10:11:01.849-04:00billoo, thanks so much for that beautiful quote on...billoo, thanks so much for that beautiful quote on Piero from Herbert. What a writer he is! There is currently a small show of a few Peiro works at the Frick Collection in NYC, which I'm hoping to see when I'm there in a couple of weeks. <br />http://www.frick.org//exhibitions/pieroAltoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-22965998585872576822013-03-14T00:39:56.057-04:002013-03-14T00:39:56.057-04:00Altoon, since this is how I came to your site in t...Altoon, since this is how I came to your site in the first place-looking for an essay by Z. Herbert- may I just add:<br /><br />"The principle of tranquility does not lie merely in architectural balance. It is a principle of inner order. Piero understood that excess movement and expression both destroy the visual painted space and compress the painting’s time to a momentary scene, a flash of existence. His stoic heroes are constrained and impassive. The stilled leaves, the hue of the first earthly dawn, the unstruck hour, give the things Piero created an ontological indestructibility."<br /><br />Steven, you make a fascinating point. But isn't there also a clarity,a breathing space in these pictures..in the 'light of experience'?<br /><br />billoohttps://www.blogger.com/profile/10716970909272480118noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-69731711576512322362013-03-13T18:17:24.251-04:002013-03-13T18:17:24.251-04:00I of course agree with you, steven, as I hope I ma...I of course agree with you, steven, as I hope I made clear above. I understand and admire your visual language as one of movement and flux; mine is one of stability and quiet. Altoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-27944811540670201912013-03-13T17:53:20.804-04:002013-03-13T17:53:20.804-04:00Another fabulous post, Altoon... and the accompany...Another fabulous post, Altoon... and the accompanying FB discussion as well. <br /><br />For what it is worth... Regarding your question: "is the camera's fixed point of view more "true" than Picasso's multiple viewpoints?" <br /><br />It seems to me that no one method or approach to filtering and "re-presenting" our visual experiences of the world has a line on "the truth." The view of the camera presents a severe abstraction, as do the various systems of perspective, as well as Picasso's cubism. <br /><br />I must confess to personal preferences, however...<br /><br />It seems to me that, for the most part, works in the tradition of the western European renaissance stand as "frozen paintings," offering a re-presentation of the visual world from one fixed point of view at one frozen moment in time. And it seems to me that we very rarely experience the world in this way. <br /><br />For me, paintings are about conveying the experience, the sensation, of being alive. The language of visual arrangement can speak poetically and metaphorically about this aliveness in us and all around us. All living things (and even so-called inanimate entities) are in flux. Everything is continually moving and changing; we navigate our way in and through this stream. The experience of a Cubist painting gives us this sensation; we get the same sorts of experiences in Futurist paintings; and we experience aliveness in nonobjective arrangements of all sorts (when we cease to "read them" as having references to the visual and, instead, experience them as animate entities in and of themselves)... <br /><br /><br /> steven aimonehttp://www.stevenaimone.comnoreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-53313771725440484262013-03-12T20:57:58.280-04:002013-03-12T20:57:58.280-04:00It's very interesting to think about Giacomett...It's very interesting to think about Giacometti in this context, A. I think for him the space around the figure pressed in on it so strongly that the figure almost disappeared; I'm thinking of those matchbox figures he made for a while. But he certainly did paint with a kind of radiating vision, out from that center. Altoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-31237872328053009552013-03-12T20:25:59.749-04:002013-03-12T20:25:59.749-04:00Really interesting. I think Giacometti also explo...Really interesting. I think Giacometti also explored the fixed point of view very profoundly. I love the way he explored peripheral vision. For him, he seems to have focused his view extremely narrowly - to the point were, when painting a model, everything radiates out form the tip of the nose.Anonymousnoreply@blogger.com