The pictorial space in question.
A fundamental paradox of painting based on a desire to represent three-dimensional space on a two-dimensional support. Geometric perspective is an icon of modern space. Yet despite its technical resources, the organization retains architectural paint in two dimensions. The composition of a pictorial space can be approached both as a subject three-dimensional, and thus "naturalist" and a subject-dimensional "ideal". The artists create a structure where the geometry is organizing the surface table. The artificiality of a sham based on the complicity of the viewer and the mental structure of the table reflects this arrangement.
"The characteristic of painting for centuries, has always been to develop and constantly create new symbols of expression, expressive structures. But it is only when men accept when new sound or new symbols are issued by some of them, of mechanisms to project meaning that they reach a level of genuine existence. "(Fernande Saint Martin Spatial Structure pictorial , Editions HMH, Montreal, 1968, p. 13). Construction or composition of a painting based on the effects sought and symbols. In the cycle time sensory space, meaning that leads us to conceive of space in painting as a surface composition, both organized in two and three dimensions. Geometric perspective that seems to "open a window on the world" is structured on a two-dimensional geometric grid.
"The key to me is that we recognize the need to study works of painting as a system of signs and we do apply the rigorous methods of interpretation that have ensured the progress of so many other sciences. He does not see a topic in a table anecdotal, we must examine the individual and social mechanisms that made it readable and effective. A work of art is a means of expression and communication of feelings or thoughts. "(Pierre Francastel Painting and society, and Denoël Gonthier, Paris, 1977, p.10)
A painting is not an object like any other, it is only about construction scale, The space is used or be a means of expressive communication. The eye does not give a full spatial perception, there is no involvement of the body itself in the spaces depicted. The table can be seen as an active surface and projective. For its effectiveness the painter will therefore use the means of lines, shapes. The plan and consciously constructed is itself a subject of study. Questioning the pictorial space was simply to build its composition effects.
Wallpaper gold on wood works of the Italian primitives fold or flatten the space to present the holy FIGS. This lack of a cone perspective reflects a geometric organization. To balance the composition and the occupation of the surface of the work, the artists are based grids. In Naddo Ceccarelli, spatial information is minimal. A brown belt curvilinear motifs include a marble floor. Yet the artist unifies the two books of his diptych by decorative motifs incised directly into the gold background and by the looks and exchanges between each character creating lines and links. On the lower register, the Magi rightmost look at the angel that is on the other panel in the upper left. To the left panel, the Magi kneeling before the Madonna and Child, made diagonal. This line breaks with the dynamic stability of the other postures.
Developing a network of lines or opposing the accompanying framework allows artists to make dynamic structure and composition. These lines are a grid on which the artist has put its composition.
The physical setting of the work becomes the spatial reference frame. In Lorenzo Veneziano, angels musicians organized on the place left by the frame. This dialogue between available surface and internal organization, shows that the spatiality of the table is primarily a material fact and physics.
predella panels by Andrea Mantegna as we have previously noted large. Developments "Landscape" show a real willingness to open the window. Yet if we analyze the "lines of force" that is to say the organization on a geometric grid of the main lines figured, Italian artist retains its dynamic effects. The dead tree under Christ praying in the Garden, it happens to be the top of a pyramid or a triangle the base is formed by the apostles. This composition allows Mantegna effect of elevation. Consequence of a desire in mind, it is a dynamic and rewarding with a two-dimensional geometry processing, the introduction of plastic and painting of Christ. This triangulation is found in the resurrection. Geometric perspective despite the third dimension it pretends, is a triangular structure. Christ finds himself once again the top, the triangle is reorganizing the rectangular panel.
These dynamic effects are used to organize the pictorial field as an active surface. These guide lines the look in his movement. These principles of ornaments (more for decoration, beautification of an artistic composition) are not incidental but necessary to make the work expressive and sensitive. The proliferation of details in the composition serves to structure the pictorial space.
Gothic architecture in which sits the Virgin and Child with the altarpiece St. John and St. Madeleine plays perfectly the role of geometric ornament and active. She individualizes and singles out the most important characters while adding details beautifying composition. The Flemish painters play these geometrical ornaments and even artistic. In the small panel of the Mass of St. Gregory, the abyss into a picture in picture allows me to question the pictorial space. Christ standing on the altar next to his face placed on the shroud himself before an altar on gold. What is the origin details and ornaments, and further suggests the incarnation of Christ standing.
Geometry as medium composition supports the principles of surface composition, that is to say surface necessary for the organization plastic table. The work is organized as a network of dynamic lines.
In the seventeenth century, the diagonal and the triangle will end up in an ornamental character, along the curve. The desire of pleasure claimed in composition, from the Baroque period, this complex surface structure, continuing to guide and extend the time to look at the surface of the work.
The compositions of the two tables of povidone, has an organization where the plastic eye with the dynamic lines of the table is inexorably reduced to the scenes of martyrs. The architecture and groups of characters form a network that leads the eye to rise, has swept across the surface to better return to the main stage. These two works are mannerist ornamentation without dissolving the principle of concentration. Despite a composition that seems much more diffuse, the Italian artist plays with the format of his work for the next running but not lost. The artists are realizing that the painting is seen primarily in its entirety, but that the composition can highlight the scene should concentrate on. By breaks, as the curve relative to the rectangular format of the painting, the artists the gaze of a more gentle but still run. Curve softens the composition but will retain a didactic. The arabesque patterns become the means to drive smoothly the viewer on the subject.
The geometric structures are ornamented or embellished details. The French painter Francois Boucher uses effects that could be called decorative. In revealing his divinity Apollo for tat Isse, the geometric composition offers triangular structures. The first having as basis the top of the table, point downwards. The second is a triangle composed of the shepherd and Apollo, point upwards. This structure is based on the diagonals is run by angels or even the clothes of the two main characters. Curves and cons-curves accompanying the primary structure.
In the work Sylvie fleeing wounded wolf , Boucher uses for other effects. Sylvie clothing wrapped around her body, or vice versa, and serve as drivers to look that son and smooth strokes across the body of the nymph. We could multiply examples of these constructions in which a geometric structure is elongated or ornamented with this phenomenon.
To better respond to this desire to look, the artists developed a vocabulary of a resting surface effect and not an effect of depth. This structure of pictorial space is accompanied by color effects ornamental colors playing the developer and the beautification of the work.
At the primary geometry about organizing a narrative, from the seventeenth century artists will link a principle chromatic playing on the sensory aspects. Color as the line are the fundamentals of pictorial composition. Awareness the subject is compound means that the pictorial space is not driven by the subject, but conversely that the subject is driven by the will of composition. The pictorial surface is therefore by no means only a sham. Empathy, pleasure or even pleasure are fundamental to the expressive quality of the picture. Artists must bind the precision of a naturalistic representation and construction ideal for generating pleasure. As mentioned in the introduction, a table is not a handicraft, it must be fundamentally an object beyond its mere physical construction. The artists reflect and organize the surface of the work and not just its plausibility. The animation of the painting leads the viewer's eye to the main topic, but this theatrical dialogue with the subjectivity of the creator and the viewer.
Classical culture is based on a desire for an idealized geometry representation. The open conflict between proponents of color and design embodies the questioning of the effects of composition and surface. Indeed, the painting is not a network of geometric lines to focus the viewer's attention on the work itself, it is also a chromatic playing surface effects "psychological" compositional and color. Curves and curved-cons ornamental effects are accompanied by shades which are all qualities specific to painting.
A table is an expression of the artist, his organization of surface is the result of its reflection on the establishment of his subject. In the nineteenth century, we see a flip-flop. Classical geometry of organizing subject disappears, giving way to a visual culture of the area. Indeed, what is that building the table, the eye's surface is painted in its entirety. Given the failure to detail, the artists will build and develop a plan of surficial work. These developments are in support of advanced science of perception. The logic of perception focus gives way to a perception eccentric. The color becomes the engine that full recovery of a work surface expressively complete. Geometric structures used previously to argue with the composition and highlighted its historical regime is replaced by a principle sensory and contemplative.
The pictorial space function changing its composition changes. Eugene Delacroix in his work of 1848 Arab comedians or clowns , composes his painting not as a focus on the very subject of the title, but on a chromatic field to allow the eye to be affected. The marriage between the primary color red and its complementary green generates in the composition of the white painter. The concentration of light is a scattering of color on this surface phenomenon resulting in additive white. He finds himself repeating all depth planes of the canvas. In the foreground by the "patchwork" in the main stage with a red, or even at the bottom with the same character walking in red. There are no more centrifugal effect but rather a distribution and occupation of composition on the entire surface of the table. The work looks as a whole, or ornamental uses because the board, its function becomes sensitive.
The geometric structure remains a means for the general organization of the table. The work of Claude Monet from 1878 shows these leftovers. The X bar the whole composition of Bras Seine near Vetheuil , is a hook to the eye showing that by far the work seems to represent a three dimensional space. Yet the technique of touch and dilution of the subject leads to see only printing is not a representation.
The pictorial surface by its activation becomes a sensory issue. The key, wheelbase, and the effects of material attached to the unique nature of the paint for the painters are the only justifiable reason for the table.
latter pursues the issue of structuring pictorial space into something expressive. By the visibility of the document in the development of material, modern artists are trying to assert their own subjectivity. While the quality of an artist from previous periods lies in an analysis of its composition, claiming that the modern period when the impression we are dealing with a subjective expression.
The switch to the abstraction can be regarded as a mere continuation of the activation subjective pictorial space. The paintings by Olivier Debre, drawing Zaou Wou Ki or Geneviève Asse claims an autonomous pictorial space. Surface expression of full and empty paint claims its purely visual.
The eye does not rebuild the reality that a full inquiry and the void and in no case any premises. The organization of pictorial space is meant to be an object in its effective visual communication and willingness to embrace the viewer visually. Throughout history, the paint despite his willingness to mimesis seeks an organization to effectively surface the transcript and the representation of a subject. The surface is pierced by any painter but as an opportunity to exploit expressive.
space in painting is kind of compositional and expressive. In keeping with the times, the structure of a table does not remain a set of surface lines and shapes.
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