![]() Similarly, exciting, spatial expressions were added into the humanist world of the palazzos and piazzas. Another is that framing images allowed art objects to become portable and thus easily moved outside of the fixed, architectural environment of the church, for the framed works could be carried from place to place. One came about in the art itself as the religious and narrative motifs were re-defined and secularized. ![]() Simultaneous with the development of deep, illusionist space on a painted surface in the Renaissance, events moved art out of the ecclesiastical setting on several fronts. Similarly, the murals of Pompeii attest to the fascination of the Romans for enhancing the space of their windowless rooms, while much of the power of Renaissance art grew out of its ability to use perspectival techniques to create the illusion of three-dimensional space on the walls in their villas. So when Plato, for example, inveighed against the illusions that ‘represented’ reality and, by extension, the ways in which representation distorted ‘Truth’, he was talking about the kind of illusory space painters can present when they represent the world we see. ![]() Painterly space, moreover, cannot be detached from historical, cultural, metaphoric, philosophical, and religious ideals. įollowing his own dictum, Stella often presents us with a space that is non-representational and incompatible with physical space, demonstrating that the concept of space in twentieth century art is difficult to define. He goes on to point out that, since painters create space, it seems ironic that twentieth century painters had to work so hard to create abstract space in paintings. Given that visual art production includes this active quality, it is not surprising the contemporary visual artist Frank Stella sees the creation of space as the principal goal of art (see lead quote). As a verb, however, ‘to space’ implies a process of organizing and arranging. Or, topologically, space might be defined as the infinite extension of the three-dimensional field in which all matter exists. It might be conceived as a set of elements or points satisfying specified geometric postulates and identified in terms of Euclidean or non-Euclidean systems. Mathematical space, for example, takes the form of a noun. Space has been a major concern in art throughout recorded history and, when considering all fields of endeavor, concerns are multiplied due to the number of ways we can define space. ![]() The Concept of Space in Twentieth Century Art This minimal structure now functions entirely in response to the landscape around it, creating a visual echo-chamber that endlessly reflects, a life-size kaleidoscope that absorbs, transforms and responds to the surrounding dynamic landscape The artwork will remain on view in Gstaad, Switzerland over the course of two years, reflecting and interacting with the mountain landscape over the changing seasons. The reflective pavilion, which has previously been installed in the desert near Palm Springs, currently sits in an Alpine meadow above Gstaad, Switzerland. Mirage Gstaad, a mirrored building created by American artist Doug Aitken, reflects the shifting landscape of the Alps in this exclusive video for Dezeen. Metaphysical and Palpable Spaces - From Bernini to Rothko and Troika Key terms associated with Pictorial Space: Visual illusions, Perspective, Semantics of Pictorial Space, Positive & Negative, 2D (two dimensional) space, and 3D (three-dimensional space).
0 Comments
Leave a Reply. |