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Estado | Reservas de ítem | |||||
|---|---|---|---|---|---|---|
Búsqueda… Science | Book | 759.6 D159D, 2000 | 1 | Stacks | Búsqueda… Desconocido | Búsqueda… No disponible |
Búsqueda… Science | Book | GCMAIN 759.6 D136A | 1 | Stacks | Búsqueda… Desconocido | Búsqueda… No disponible |
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Resumen
This visually gripping book focuses on a central but relatively unexamined aspect of the work of Salvador Dali: his fascination with optical effects and visual perception. The book examines Dali's use of various pictorial techniques, photography, and holograms to further his exploration of visual perception and the ways that optical illusion affects our sense of reality. Dawn Ades and other authorities in the field discuss such paintings as The Enigma of William Tell, in which Dali experimented with anamorphosis, the perspectival distortion that produces on the canvas elongated forms demanding an oblique viewpoint. They also note his interest in other more conventional forms of perspective and their sources in both Dutch and Italian art. They study his development of the famous double image, the paranoiac-critical method that produced images that could be read in multiple ways, as seen in his Apparition of a Face and Fruit Dish on a Beach or Impressions of Africa. And they reveal his fascination with optical effects and three-dimensional illusions that is apparent in his post-war work: the screen-dot paintings like Sistine Madonna or Portrait of my Dead Brother, in which an i
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"If you compare me with any classical painter whatsoever, then I'm an absolute nonentity," confessed Salvador Daliin his late years. The statement is particularly ironic given Dali's status as one of the most original twentieth-century artists and the twentieth-century artists' general disregard for the masters. But Dali, of course, was never one to run with the crowd. In fact, Dalibuilt his extraordinary technical repertoire by studying the ancient masters of perspective and applying what he had learned to create canvases of his own mad visions. As the writers explain in this collection, Dali's experiments with perspectives were all-encompassing. The catalog examines his study of conventional forms of perspective in Dutch and Italian art, as well as his play with anamorphosisthe perspectival distortion that produces on the canvas elongated forms demanding an oblique viewpoint--such as in The Enigma of William Tell. It also examines Dali's own invention of the "paranoiac-critical method," which produced the famous double image that can be "read" in multiple ways, such as in Apparition of the Face. The exhibition catalog contains 109 color and 61 black-and-white illustrations of Dali's fantastic optical illusions. --Veronica Scrol
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Ades (Univ. of Essex), Antonio Pitxot (Teatro-Museu Dali), and Peter Sutton and Eric Zafran (both Wadsworth Atheneum) contend that a central issue in Dali's art has until now remained relatively unexamined. This catalog (and its attendant exhibition) focuses on scientific and technical issues that informed the artist's work: photography, holograms, and various methods of perspective developed by Italian Renaissance and Dutch Baroque painters. Dali's explorations of visual perception and optical illusion resulted in his use of anamorphosis (perspectival distortion resulting in elongated painted forms that forces the viewer to assume an oblique angle of vision), his self-named "paranoiac-critical method" (producing his famous double images), and his "screen-dot" works mimicking both photographic and printing processes. Late in his career, Dali revealed his interest in optics with his production of both holograms and "stereometric" works (paintings meant to be viewed like stereoscopic photographs). Knowledge of these concepts enriches our understanding of Dali's superrealistic method of painting unrelated objects to simulate a dreamlike reality (sometimes referred to as "magic realism"). The detailed catalog entries and superb illustrations, which include many important comparative works, will appeal equally to the scholar and the novice. General readers; undergraduates through faculty. E. K. Menon; Minnesota State University, Mankato