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Steven Sweeney · 04-08-2002, 06:36 AM

The referenced article indicates that the models for the Brittany piece were posed one at a time, in proper costume and in the relative positions they would take in the procession represented. I can't say that I sense any distortion in the relative sizes of the figures, though the article also theorizes that the artist used preliminary reference photographs, sometimes a composite of several, to facilitate accurate transfer of the subjects to the canvas.

This notion of the optical distortion that can occur when a variety of photographs, or just a variety of viewing points is employed is the subject of, among other books, David Hockney's "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters". The book has a good deal of intriguing theory about the use of photos, lenses, and other devices by many so-called old masters to effect the transfer of the initial contours of subjects onto canvas. (Unfortunately, the support for the theory is unconvincingly presented, at least in this publication. Much of the argument consists essentially of Hockney's statements that his theory must be correct, for he can think of no other explanation for the observed phenomena. Nonetheless, there is plenty of provocative musing for the careful reader.) By the way, Hockney's work isn't exactly on Art Renewal's Book-of-the-Month Club list, so you might want to read it under the covers with a flashlight. Merely owning it, much less citing it as any sort of authority, is considered heresy by some.

Daniel Greene has done a number of multiple-figure pieces, notably his series of "auction house" scenes, and he has remarked how very difficult it was to not only have to ensure that each figure was well and truly rendered in its own right, but also in correct proportion and perspective to all the other figures in the room.

Meanwhile, I'm still challenged by the task of getting the features of a single face to appear correct. Maybe if I traveled to Brittany to paint for a year or two . . .

Administrator's Note: See this topic for more information on the David Hockney theory. http://forum.portraitartist.com/show...=&threadid=259

04-08-2002, 06:36 AM	#5
Steven Sweeney Juried Member PT 5+ years Joined: Nov 2001 Location: Stillwater, MN Posts: 1,801	The referenced article indicates that the models for the Brittany piece were posed one at a time, in proper costume and in the relative positions they would take in the procession represented. I can't say that I sense any distortion in the relative sizes of the figures, though the article also theorizes that the artist used preliminary reference photographs, sometimes a composite of several, to facilitate accurate transfer of the subjects to the canvas. This notion of the optical distortion that can occur when a variety of photographs, or just a variety of viewing points is employed is the subject of, among other books, David Hockney's "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters". The book has a good deal of intriguing theory about the use of photos, lenses, and other devices by many so-called old masters to effect the transfer of the initial contours of subjects onto canvas. (Unfortunately, the support for the theory is unconvincingly presented, at least in this publication. Much of the argument consists essentially of Hockney's statements that his theory must be correct, for he can think of no other explanation for the observed phenomena. Nonetheless, there is plenty of provocative musing for the careful reader.) By the way, Hockney's work isn't exactly on Art Renewal's Book-of-the-Month Club list, so you might want to read it under the covers with a flashlight. Merely owning it, much less citing it as any sort of authority, is considered heresy by some. Daniel Greene has done a number of multiple-figure pieces, notably his series of "auction house" scenes, and he has remarked how very difficult it was to not only have to ensure that each figure was well and truly rendered in its own right, but also in correct proportion and perspective to all the other figures in the room. Meanwhile, I'm still challenged by the task of getting the features of a single face to appear correct. Maybe if I traveled to Brittany to paint for a year or two . . . Administrator's Note: See this topic for more information on the David Hockney theory. http://forum.portraitartist.com/show...=&threadid=259 __________________ Steven Sweeney [email protected] "You must be present to win."