Hockney's eye: the art and technology of depiction
Gespeichert in:
| Weitere beteiligte Personen: | , , |
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| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
London
Paul Holberton Publishing
2022
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| Schlagwörter: | |
| Abstract: | Throughout his long career, David Hockney has insistently explored diverse ways of depicting the visible world. He has scrutinised the methods of the old masters, and explored radical departures from their cherished assumptions. The exhibitions accompanied by this volume are the first to focus on this central theme in his art. 'Western art' from the Renaissance until at least the late 19th century has been dominated by the depiction of nature. Was this to be accomplished by direct looking (called "eyeballing" by Hockney) or with the assistance of optical theory and devices, such as cameras? Hockney has experimented with the full range of existing strategies, overtly using perspective in some of his classic pictures and rigorously investigating optical aids for the imitation of nature, including the camera obscura and camera lucida. Yet he has come to reject the photograph as the definitive image of what we see. Along the way, he has identified a 'camera culture' in European painting from 1400, arguing very controversially that the supreme naturalism of painters like Jan van Eyck are the product of optical devices. His book, Secret Knowledge (2001), with its majestic panorama of paintings over the course of five centuries, claims that art historians have missed the central aspect of painters' practice. The 'Hockney thesis' has been received more favourably outside the professional world of art history than in it. His own artistic practice has been in vigorous dialogue with his radical thesis, and he has progressively demonstrated new and dynamic ways of characterising the visual world without perspective and other conventional techniques. This quest results a series of joyous challenges to our ways of seeing in the major exhibition in Cambridge at the Fitzwilliam Museum and in the Heong Gallery (Downing College). It will look at the whole span of Hockney's varied career and at the nature of the optical devices he has tested. His vision will be explored in the setting of traditional masterpieces of naturalistic observation, and in the context of modern sciences and technologies of seeing. The first section of the book looks at his thrilling experiments in seeing and representing in broad historical and contemporary contexts. This is followed by discussions of pre-photographic devices for capturing the appearances of things by optical means. The third section includes essays on Hockney's experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockney's unique eye |
| Beschreibung: | Rückseite Titelblatt: First published to accompany the exhibition "Hockney's Eye: the Art and Technology of Depiction", The Fitzwilliam Museum, Cambridge, 15 March - 29 August 2022; The Heong Gallery, Cambridge, 15 March - 29 August 2022; Teylers Museum, Haarlem, 24 September 2022 - 30 January 2023 |
| Umfang: | 184 Seiten Illustrationen 28 cm |
| ISBN: | 9781913645120 |
Internformat
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| 500 | |a Rückseite Titelblatt: First published to accompany the exhibition "Hockney's Eye: the Art and Technology of Depiction", The Fitzwilliam Museum, Cambridge, 15 March - 29 August 2022; The Heong Gallery, Cambridge, 15 March - 29 August 2022; Teylers Museum, Haarlem, 24 September 2022 - 30 January 2023 | ||
| 505 | 8 | |a Introduction: the 'Hockney Thesis' / Martin Gayford, Martin Kemp, and Jane Munro -- David Hockney: space explorer / Martin Gayford -- Seeing through perspective / Martin Kemp -- Hobbema's Avenue and the ordering of nature: arboreal and optical / Martin Kemp and Gabriel Hemery -- 'All kinds of objects': Cornelius Varley, the Patent Graphic Telescope and the use of optical instruments by nineteenth-century British artists / Anne Lyles -- The camera lucida and the technologies of imitation / Boris Jardine -- Canaletto's camera / Philip Steadman -- Ingres and Hockney: art, science and uniformity / Jane Munro -- Hockney through the mind's eye / Zoe Kourtzi, Andrew Welchman and Martin Kemp -- Colour in the mind of Hockney / Anya Hurlbert -- Escaping Alberti's prison: space, narrative, and computer visualization in Domenico Veneziano's Fitzwilliam predella panels / Donal Cooper, Francesca Aimi, Fabrizio Nevola and Luca Brunke | |
| 520 | 3 | |a Throughout his long career, David Hockney has insistently explored diverse ways of depicting the visible world. He has scrutinised the methods of the old masters, and explored radical departures from their cherished assumptions. The exhibitions accompanied by this volume are the first to focus on this central theme in his art. 'Western art' from the Renaissance until at least the late 19th century has been dominated by the depiction of nature. Was this to be accomplished by direct looking (called "eyeballing" by Hockney) or with the assistance of optical theory and devices, such as cameras? Hockney has experimented with the full range of existing strategies, overtly using perspective in some of his classic pictures and rigorously investigating optical aids for the imitation of nature, including the camera obscura and camera lucida. Yet he has come to reject the photograph as the definitive image of what we see. | |
| 520 | 3 | |a Along the way, he has identified a 'camera culture' in European painting from 1400, arguing very controversially that the supreme naturalism of painters like Jan van Eyck are the product of optical devices. His book, Secret Knowledge (2001), with its majestic panorama of paintings over the course of five centuries, claims that art historians have missed the central aspect of painters' practice. The 'Hockney thesis' has been received more favourably outside the professional world of art history than in it. His own artistic practice has been in vigorous dialogue with his radical thesis, and he has progressively demonstrated new and dynamic ways of characterising the visual world without perspective and other conventional techniques. This quest results a series of joyous challenges to our ways of seeing in the major exhibition in Cambridge at the Fitzwilliam Museum and in the Heong Gallery (Downing College). | |
| 520 | 3 | |a It will look at the whole span of Hockney's varied career and at the nature of the optical devices he has tested. His vision will be explored in the setting of traditional masterpieces of naturalistic observation, and in the context of modern sciences and technologies of seeing. The first section of the book looks at his thrilling experiments in seeing and representing in broad historical and contemporary contexts. This is followed by discussions of pre-photographic devices for capturing the appearances of things by optical means. The third section includes essays on Hockney's experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockney's unique eye | |
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| 650 | 0 | 7 | |a Maltechnik |0 (DE-588)4125812-5 |2 gnd |9 rswk-swf |
| 653 | 1 | |a Hockney, David / Exhibitions | |
| 653 | 0 | |a Art and technology / Exhibitions | |
| 653 | 1 | |a Hockney, David | |
| 653 | 6 | |a Exhibition catalogs | |
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| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |x The Heong Gallery |y 15.03.2022-29.08.2022 |z Cambridge |2 gnd-content | |
| 655 | 7 | |0 (DE-588)4135467-9 |a Ausstellungskatalog |x Teylers Museum |y 24.09.2022-30.01.2022 |z Haarlem |2 gnd-content | |
| 689 | 0 | 0 | |a Hockney, David |d 1937- |0 (DE-588)118551760 |D p |
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| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Hockney, David |d 1937- |0 (DE-588)118551760 |4 art | |
| 700 | 1 | |a Gayford, Martin |d 1952- |0 (DE-588)138215146 |4 edt | |
| 700 | 1 | |a Kemp, Martin |d 1942- |0 (DE-588)115860819 |4 edt | |
| 700 | 1 | |a Munro, Jane |d 1958- |0 (DE-588)13835099X |4 edt | |
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Datensatz im Suchindex
| _version_ | 1822044741766742016 |
|---|---|
| adam_text | |
| any_adam_object | |
| author2 | Gayford, Martin 1952- Kemp, Martin 1942- Munro, Jane 1958- |
| author2_role | edt edt edt |
| author2_variant | m g mg m k mk j m jm |
| author_GND | (DE-588)118551760 (DE-588)138215146 (DE-588)115860819 (DE-588)13835099X |
| author_facet | Gayford, Martin 1952- Kemp, Martin 1942- Munro, Jane 1958- |
| building | Verbundindex |
| bvnumber | BV048373171 |
| classification_rvk | LI 41180 |
| contents | Introduction: the 'Hockney Thesis' / Martin Gayford, Martin Kemp, and Jane Munro -- David Hockney: space explorer / Martin Gayford -- Seeing through perspective / Martin Kemp -- Hobbema's Avenue and the ordering of nature: arboreal and optical / Martin Kemp and Gabriel Hemery -- 'All kinds of objects': Cornelius Varley, the Patent Graphic Telescope and the use of optical instruments by nineteenth-century British artists / Anne Lyles -- The camera lucida and the technologies of imitation / Boris Jardine -- Canaletto's camera / Philip Steadman -- Ingres and Hockney: art, science and uniformity / Jane Munro -- Hockney through the mind's eye / Zoe Kourtzi, Andrew Welchman and Martin Kemp -- Colour in the mind of Hockney / Anya Hurlbert -- Escaping Alberti's prison: space, narrative, and computer visualization in Domenico Veneziano's Fitzwilliam predella panels / Donal Cooper, Francesca Aimi, Fabrizio Nevola and Luca Brunke |
| ctrlnum | (OCoLC)1344251589 (DE-599)BVBBV048373171 |
| discipline | Kunstgeschichte |
| format | Book |
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| genre_facet | Ausstellungskatalog Fitzwilliam Museum 15.03.2022-29.08.2022 Cambridge Ausstellungskatalog The Heong Gallery 15.03.2022-29.08.2022 Cambridge Ausstellungskatalog Teylers Museum 24.09.2022-30.01.2022 Haarlem |
| id | DE-604.BV048373171 |
| illustrated | Illustrated |
| indexdate | 2025-01-23T13:01:13Z |
| institution | BVB |
| institution_GND | (DE-588)1016377-3 |
| isbn | 9781913645120 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033752186 |
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| owner_facet | DE-11 DE-12 DE-255 DE-Y2 |
| physical | 184 Seiten Illustrationen 28 cm |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Paul Holberton Publishing |
| record_format | marc |
| spelling | Hockney's eye the art and technology of depiction edited by Martin Gayford, Martin Kemp and Jane Munro London Paul Holberton Publishing 2022 184 Seiten Illustrationen 28 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier Rückseite Titelblatt: First published to accompany the exhibition "Hockney's Eye: the Art and Technology of Depiction", The Fitzwilliam Museum, Cambridge, 15 March - 29 August 2022; The Heong Gallery, Cambridge, 15 March - 29 August 2022; Teylers Museum, Haarlem, 24 September 2022 - 30 January 2023 Introduction: the 'Hockney Thesis' / Martin Gayford, Martin Kemp, and Jane Munro -- David Hockney: space explorer / Martin Gayford -- Seeing through perspective / Martin Kemp -- Hobbema's Avenue and the ordering of nature: arboreal and optical / Martin Kemp and Gabriel Hemery -- 'All kinds of objects': Cornelius Varley, the Patent Graphic Telescope and the use of optical instruments by nineteenth-century British artists / Anne Lyles -- The camera lucida and the technologies of imitation / Boris Jardine -- Canaletto's camera / Philip Steadman -- Ingres and Hockney: art, science and uniformity / Jane Munro -- Hockney through the mind's eye / Zoe Kourtzi, Andrew Welchman and Martin Kemp -- Colour in the mind of Hockney / Anya Hurlbert -- Escaping Alberti's prison: space, narrative, and computer visualization in Domenico Veneziano's Fitzwilliam predella panels / Donal Cooper, Francesca Aimi, Fabrizio Nevola and Luca Brunke Throughout his long career, David Hockney has insistently explored diverse ways of depicting the visible world. He has scrutinised the methods of the old masters, and explored radical departures from their cherished assumptions. The exhibitions accompanied by this volume are the first to focus on this central theme in his art. 'Western art' from the Renaissance until at least the late 19th century has been dominated by the depiction of nature. Was this to be accomplished by direct looking (called "eyeballing" by Hockney) or with the assistance of optical theory and devices, such as cameras? Hockney has experimented with the full range of existing strategies, overtly using perspective in some of his classic pictures and rigorously investigating optical aids for the imitation of nature, including the camera obscura and camera lucida. Yet he has come to reject the photograph as the definitive image of what we see. Along the way, he has identified a 'camera culture' in European painting from 1400, arguing very controversially that the supreme naturalism of painters like Jan van Eyck are the product of optical devices. His book, Secret Knowledge (2001), with its majestic panorama of paintings over the course of five centuries, claims that art historians have missed the central aspect of painters' practice. The 'Hockney thesis' has been received more favourably outside the professional world of art history than in it. His own artistic practice has been in vigorous dialogue with his radical thesis, and he has progressively demonstrated new and dynamic ways of characterising the visual world without perspective and other conventional techniques. This quest results a series of joyous challenges to our ways of seeing in the major exhibition in Cambridge at the Fitzwilliam Museum and in the Heong Gallery (Downing College). It will look at the whole span of Hockney's varied career and at the nature of the optical devices he has tested. His vision will be explored in the setting of traditional masterpieces of naturalistic observation, and in the context of modern sciences and technologies of seeing. The first section of the book looks at his thrilling experiments in seeing and representing in broad historical and contemporary contexts. This is followed by discussions of pre-photographic devices for capturing the appearances of things by optical means. The third section includes essays on Hockney's experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockney's unique eye Hockney, David 1937- (DE-588)118551760 gnd rswk-swf Optisches Instrument (DE-588)4140457-9 gnd rswk-swf Perspektive (DE-588)4045301-7 gnd rswk-swf Maltechnik (DE-588)4125812-5 gnd rswk-swf Hockney, David / Exhibitions Art and technology / Exhibitions Hockney, David Exhibition catalogs (DE-588)4135467-9 Ausstellungskatalog Fitzwilliam Museum 15.03.2022-29.08.2022 Cambridge gnd-content (DE-588)4135467-9 Ausstellungskatalog The Heong Gallery 15.03.2022-29.08.2022 Cambridge gnd-content (DE-588)4135467-9 Ausstellungskatalog Teylers Museum 24.09.2022-30.01.2022 Haarlem gnd-content Hockney, David 1937- (DE-588)118551760 p Maltechnik (DE-588)4125812-5 s Perspektive (DE-588)4045301-7 s Optisches Instrument (DE-588)4140457-9 s DE-604 Hockney, David 1937- (DE-588)118551760 art Gayford, Martin 1952- (DE-588)138215146 edt Kemp, Martin 1942- (DE-588)115860819 edt Munro, Jane 1958- (DE-588)13835099X edt Fitzwilliam Museum (DE-588)1016377-3 isb |
| spellingShingle | Hockney's eye the art and technology of depiction Introduction: the 'Hockney Thesis' / Martin Gayford, Martin Kemp, and Jane Munro -- David Hockney: space explorer / Martin Gayford -- Seeing through perspective / Martin Kemp -- Hobbema's Avenue and the ordering of nature: arboreal and optical / Martin Kemp and Gabriel Hemery -- 'All kinds of objects': Cornelius Varley, the Patent Graphic Telescope and the use of optical instruments by nineteenth-century British artists / Anne Lyles -- The camera lucida and the technologies of imitation / Boris Jardine -- Canaletto's camera / Philip Steadman -- Ingres and Hockney: art, science and uniformity / Jane Munro -- Hockney through the mind's eye / Zoe Kourtzi, Andrew Welchman and Martin Kemp -- Colour in the mind of Hockney / Anya Hurlbert -- Escaping Alberti's prison: space, narrative, and computer visualization in Domenico Veneziano's Fitzwilliam predella panels / Donal Cooper, Francesca Aimi, Fabrizio Nevola and Luca Brunke Hockney, David 1937- (DE-588)118551760 gnd Optisches Instrument (DE-588)4140457-9 gnd Perspektive (DE-588)4045301-7 gnd Maltechnik (DE-588)4125812-5 gnd |
| subject_GND | (DE-588)118551760 (DE-588)4140457-9 (DE-588)4045301-7 (DE-588)4125812-5 (DE-588)4135467-9 |
| title | Hockney's eye the art and technology of depiction |
| title_auth | Hockney's eye the art and technology of depiction |
| title_exact_search | Hockney's eye the art and technology of depiction |
| title_full | Hockney's eye the art and technology of depiction edited by Martin Gayford, Martin Kemp and Jane Munro |
| title_fullStr | Hockney's eye the art and technology of depiction edited by Martin Gayford, Martin Kemp and Jane Munro |
| title_full_unstemmed | Hockney's eye the art and technology of depiction edited by Martin Gayford, Martin Kemp and Jane Munro |
| title_short | Hockney's eye |
| title_sort | hockney s eye the art and technology of depiction |
| title_sub | the art and technology of depiction |
| topic | Hockney, David 1937- (DE-588)118551760 gnd Optisches Instrument (DE-588)4140457-9 gnd Perspektive (DE-588)4045301-7 gnd Maltechnik (DE-588)4125812-5 gnd |
| topic_facet | Hockney, David 1937- Optisches Instrument Perspektive Maltechnik Ausstellungskatalog Fitzwilliam Museum 15.03.2022-29.08.2022 Cambridge Ausstellungskatalog The Heong Gallery 15.03.2022-29.08.2022 Cambridge Ausstellungskatalog Teylers Museum 24.09.2022-30.01.2022 Haarlem |
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