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B01=Jane Munro
B01=Martin Gayford
B01=Martin Kemp
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Hockney''s Eye: The Art and Technology of Depiction

English

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 Hockneys 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 Hockneys experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockneys unique eye. See more
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Age Group_Uncategorizedautomatic-updateB01=Jane MunroB01=Martin GayfordB01=Martin KempCategory1=Non-FictionCategory=ACXJCategory=AGBCategory=AGCCategory=AGZCOP=United KingdomDelivery_Delivery within 10-20 working daysLanguage_EnglishPA=AvailablePrice_€20 to €50PS=Activesoftlaunch
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Product Details
  • Dimensions: 240 x 280mm
  • Publication Date: 05 Apr 2022
  • Publisher: Paul Holberton Publishing Ltd
  • Publication City/Country: United Kingdom
  • Language: English
  • ISBN13: 9781913645120

About

Martin Gayford is an art critic and the author of biographical studies of Michelangelo John Constable and Vincent van Gogh. He has sat for portraits by both David Hockney and Lucian Freud the latter experience being the subject of his book Man with a Blue Scarf (2010). His other publications include a survey of painting in London after the Second World War Modernists and Mavericks and The Pursuit of Art a collection of travels and interviews. Martin Kemp FBA is a British art historian and exhibition curator who is one of the world's leading authorities on the life and works of Leonardo da Vinci and visualisation in art. He is Emeritus Professor in the History of Art at Oxford University. Jane Munro is Keeper of Paintings Drawings and Prints at the Fitzwilliam Museum in Cambridge and Director of Studies in History of Art at Christs College Cambridge University. She specialises in European painting and drawing of the 19th and early 20th centuries and has curated over eighty exhibitions. In recognition of her work developing cultural exchange with France she has been made Chevalier des arts et lettres and Chevalier dans lOrdre national du Mérite.

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