Cezanne's Perspective

In the introduction to his book, 'Geometry in Pictorial Composition,' Brian Thomas began with the following words...

"In studying old paintings of many periods it is continually noticeable that features in a composition which strike the spectator as harmoniously related can be found to have also a geometrical relationship.

Many people, including a number of living painters, believe that any geometry that may be detected occurred unconsciously, as part of the artists' natural instinct for design. It must be admitted in support of this view that artists accustomed to observing effects of perspective and parallax in the course of their day-to-day study of nature might well have become saturated with a sense of mathematical coordination. On the other hand, it is hard to believe that highly analytical observers would have consistently achieved harmony by geometrical means without noticing the fact and regularizing its use, particularly as many painters were also architects experienced in applying stock proportions when designing.

At the other extreme, certain modern theorists have analysed old compositions and have propounded geometrical frameworks of fantastic complexity. It is inconceivable that such constructions could have been in general use as practical aids for busy craftsmen, many of whom were not intellectuals. Had such procedures been general, some reference to them must inevitably have appeared in contemporary literature. Theorizing about composition is unfortunately the kind of subject which attracts ingenious but complicated minds. It is noteworthy that when these analysis are themselves analysed a simpler more probable construction can invariably be produced."

An Artistic Conceit

"For him, as I understand his work, the ultimate synthesis of a design was never revealed in a flash; rather he approached it with infinite precautions, stalking it, as it were, now from one point of view, now from another, and always in fear lest a premature definition might deprive it of something of it's total complexity. For him the synthesis was an asymptote toward which he was forever approaching without ever quite reaching it; it was a reality incapable of complete realization."

Roger Fry... 'Cezanne, A Study of His Development,' page 3



In his book, 'A Theory of Semiotics.' Umberto Eco wrote: "The interpretant can assume different forms." So I have used the term, 'asymptote,' to convey to you how I think Cezanne's painting developed. An asymptote is a mathematical term that can also be used in a metaphorical way such as Roger Fry has shown. However, I use it in the sense of a visual pun to form a bridge between the different contexts... Signified you could say, by the viaduct in Cezanne's painting. In essence therefore, it circumscribes cultural units in an asymptotic fashion... Linking them together like the arches of the viaduct. Then again, because I cannot be absolutely certain that this is how Cezanne perceived the development, the synthesis is an asymptote. In which respect, this theory of mine is pure conjecture: having no basis in fact. Here now is Umberto Eco...

"Because it is such a broad category, the interpretant may turn out to be of no use at all and, since it is able to define any semiotic act, may in the last analysis become purely tautological  Yet its vagueness is at the same time its force and the condition of its theoretical purity.

The very richness of this category makes it fertile since it shows us how signification (as well as communication), by means of continual shifting which refers a sign back to another sign or string of signs, circumscribes cultural units in an asymptotic fashion, without ever allowing one to touch them directly, though making them accessible through other units. Thus a cultural unit never obliges one to replace it by means of something which is not a semiotic entity, and never asks to be explained by some Platonic, psychic or objectal entity. Semiosis explains itself by itself, this continual circularity is the normal condition of signification and even allows communication to use signs in order to mention things. To call this condition a 'desperate,' one is to refuse the human way of signifying, a way that has proved fruitful insofar as only through it has cultural history developed."

Umberto Eco... 'A Theory of Semiotics,' page 71


You will note that I underlined the words, "Semiosis explains itself by itself," because Cezanne's painting is in itself, a semiotic entity. One that without any help from me; via this type of explanation or commentary, should be capable of doing the same.

Two More Thumbnail Sketches

After my previous post yesterday, I decided to tackle two more thumbnail sketches on my iPad using the same technique. The one above is drawn from memory and imagination, just as the second one is below. Although tomorrow looks like being a nice bright day, if not a little cold. If so, I shall take a drive out and have a go at painting some more thumbnails from observation. That's the real test. Working directly from nature can often be daunting. Finding a good subject can be even more so.

Two Thumbnail Sketches

What I particularly like about painting on my iPad is the speed with which I can work. For making visual notes such as this one, and the one below it is ideal. For these two thumbnail sketches, which I did from memory I used the pencil and the technical pen on ArtRage. Although I like to add a little texture with the roller, or block in the colours very quickly with the paint pot, the technical pen can be applied over the whole drawing in bright transparent colours without having to go around the drawing itself. On a separate layer above the original however, it would mask what is underneath. The opacity of the colour of course, determining how translucent, or opaque the colour is.

The Psychological Makeup of an Image

As with any painting, whether it be a figurative one such as this, or one that is purely abstract there is an intense psychology at work. After I painted the head and shoulders of this young teenage girl I was so taken by how I had managed to capture the look of complete vacancy on he face, and the rather despondent way her head hung forward and down, I had to see how I would tackle the rest of her. To enlarge the composition on iPad is quite easy. You post the original to your photos then post it back onto another sheet of paper in your app, which in this case is ArtRage. You can then manipulate the original drawing to whatever size you want, within the picture plane. Here for example, is the original.

Next, the same image positioned onto a new sheet of paper.

From here it is just a matter of continuing the drawing. Although if you add another layer you can erase whatever you add to the picture without erasing the original, which makes mopping up any mistakes so much easier. Now, I don't know if you would agree with me but once I had completed the image it seemed to me that the empty space on the left added to the sense of isolation the girl in the picture appeared to be feeling. If indeed, that is what she is feeling. Although there is a way of testing this, and that is by adding another figure to see if it helps or hinders. However, to do this I first had to save the image then copy it, without posting it again to my photos.

The next image; half drawn, shows a young man wearing sunglasses. I had drawn in his eyes originally, but couldn't quite get the look on his face that I wanted. He began to look incongruous... Baring no relationship whatsoever to the girl. So I gave him a pair of very dark sunglasses to hide his feelings towards her: which is a cop out I admit, but by then I was beginning to realise I should have gone with my initial thoughts on the matter. Adding another person somehow trivialises the image, and turns it into a joke. I can almost hear him say, "So what do you make of my new shades?"

 Then again, maybe he is just a badly drawn boy. Maybe if I had made the effort I could have added something more: to provide some sort of message. To make something of a statement about human relationships for instance. It is difficult to say for sure, and why I always go with my gut feelings when it comes down to the psychology of picture making. The more uncertain your feelings are towards the girl; from an artistic point of view at least, the better. Why spell everything out?

Landscape Painting on iPad

This image was painted from memory of my time in Cumbria, the English lake district. The mountain range in this region was carved away during the last ice age. So the valleys have quite steep slopes and cliffs either side owing to the action of glaciers. Although the fells are not all that high they are very rugged, and covered for the large part in trees. In fact from the road the trees tend to block your view as you can see.

By contrast the place where I live in Lancashire is very flat. On the boundary of Chat moss: an ancient peat bog that was drained much later for farming purposes. In fact I live by the biggest drain of all, the Manchester Ship canal that runs from Liverpool to Manchester. However, there are not any high vantage points to view the moss from so the image below is a bird's eye view which I did entirely from imagination. The mountain in the distance on the far right is known as Winter Hill.

On the other hand, this tiny enclave is a part of Chat moss that is easy to miss from the road, and leads directly to the farms. As you can see it is painted in a more realistic fashion taken from a photograph.

Moving westward into Wales the next image is of the Vale of Llangollen painted again from memory and imagination.

Again, the following is my impression a typical Welsh valley that I did in the context of a thumbnail sketch, hence the rather rapid strokes which I prefer because they activate the surface and animate the composition more.

In a more fanciful fashion this next one could be almost anywhere in the world, but reminds me again of being on the slopes of the Lakeland fells. Except that the colours make it look rather more exotic.

Overlooking the Mersey estuary is the lovely village of Frodsham. This is painted from memory of the escarpment above the village, which I did in watercolour on my iPad.

Another watercolour, of a field with trees, which again, could be the backdrop to any rural setting.

In the next image I got a little carried away with creating a textured surface to evoke the sense of a mid, to late twentieth century modernist style of painting. To be honest with you I love this way of working because it is so much more adventurous.

In fact, here again in the following two images I expand on this modernist approach to produce something equally exotic and stimulating on the eye. Albeit, a little less frenetic in character.

I shall finish with two more images that were intended for illustration purposes only. One is of a grave yard overlooking a valley in autumn just as the leaves are falling, and the second of the Grand Canyon in America which I have never visited, but have always wanted to. Although because of the bright primary colours it does tend to look like a backdrop to a Walt Disney cartoon.

Figure Painting on iPad

What I particularly love about painting on my iPad is that when it comes to painting the human figure from memory and imagination I can work with such speed, and am able to erase my mistakes so easily. The layering process on my app, ArtRage, also makes it possible to create irregular patterns of such complexity they can bring a simple drawing to life in an instant. This image of a rather awkward looking teenager came about entirely by accident. I tend to throw down a few simple lines in pencil with a vague idea of a figure in mind, then try to visualise what that person might be doing. If I cannot see anything of interest I erase and start again. This happens on a regular basis and why, with iPad I don't need to have any concern about the amount of paper I am going through. However, because I can create such variation on this devise I am prone to change my approach with each image, and can so easily loose any sense of consistency. Here are two more examples to show you what I mean.

I did all three of these last night, and as you can see they have absolutely nothing in common; subject wise at least, though the background is familiar. I have to admit I do get bored with repeating myself. Although I am slowly developing a formula, and maybe in time will find what I am looking for. Until then I shall continue to entertain you with my thoughts and images.