Thursday,Mar 9 beginning at 4: Exhibition of Jerry Richardson's letterpress work and memorabilia. This former NDSU Communications professor and Public Relations staff donated his expansive letterpress studio to the Department of Visual Arts enabling future generations to study letterpress printing within a book arts concentration.
While the use of optical aids would generally enhance accuracy, Falco calculated the types of distortion that would result from specific optical devices; Hockney and Falco argued that such errors could in fact be found in the work of some of the Old Masters.
In particular, it has spurred increased interest in the actual methods and techniques of artists among scientists and historians of scienceas well as general historians and art historians.
The latter have in general reacted unfavorably, interpreting the Hockney—Falco thesis as an accusation that the Old Masters "cheated" and intentionally obscured their methods. Stork and several co-authors have argued against the Hockney—Falco thesis from a technical standpoint.
He was struck by the accuracy of portraits by Jean Auguste Dominique Ingresand became convinced that Ingres had used a camera lucida or similar device. From there, Hockney began looking for signs of the use of optical aids in earlier paintings, creating what he called the Great Wall in his studio by organizing images of great realistic art by time period.
What he saw as a sudden rise of realism aroundcombined with Charles Falco's suggestion that concave mirrors could have been used in that period to project images, was the germ of the Hockney—Falco thesis.
InHockney published Thesis about visual art extended form of his argument in Secret Knowledge. The hypothesis that technology was used in the production of Renaissance Art was not much in dispute in early studies and literature. Hockney suggests that later artists, beginning with Caravaggioused convex mirrors as well, to achieve a large field of view.
Secret Knowledge recounts Hockney's search for evidence of optical aids in the work of earlier artists, including the assembly of a "Great Wall" of the history of Western art. The 15th century work of Jan van Eyck seems to be the turning point, he argues, after which elements of realism became increasingly prominent.
He correlates shifts toward increased realism with advances in optical technologies.
A bibliography of walking related publications. Please use the ‘comments’ form at the bottom of the page to contribute. Links to related bibliographies. The department offers courses in studio practice and in the study of the intersecting categories of art, architecture, visual culture, and material culture, from the distant past to the present. The Department of Visual and Environmental Studies is home to a range of studio and theoretical studies in the arts at Harvard University. It offers courses in painting, drawing, sculpture, film, video, and animation, as well as photography, film history, the built environment, and contemporary art.
The argument of Secret Knowledge is primarily a visual one, as Hockney was largely unable to determine when and how optical aids were used by textual or direct evidence.
Falco said that his and Hockney's examples of Renaissance art "demonstrate a continuum in the use of optics by artists from c.
Stork analyzed the images used by Falco and Hockney, and came to the conclusion that they do not demonstrate the kinds of optical distortion that curved mirrors or converging lenses would cause. Leonardo also describes a camera obscura in his Codex Atlanticus of — The camera obscura was well known for centuries and documented by Ibn al-Haitham in his Book of Optics of — In 13th-century England Roger Bacon described the use of a camera obscura for the safe observation of solar eclipsesexactly because the viewer looks at the projected image and not the sun itself.
These manuscripts not only describe methods for making mirrors and parabolic mirrors but also discuss their use for image projection.
Optical glass[ edit ] Sara J. Schechner claimed that surviving glassware from the 15th and 16th centuries is far too imperfect to have been used to create realistic images, while "even thinking about projecting images was alien to the contemporary conceptual frame of mind.
Ilardi documents Lorenzo Lotto 's purchase of a high-priced crystal mirror inbolstering the Hockney—Falco thesis in Lotto's case. Dutch draper and pioneering microbiologist Antonie van Leeuwenhoek —a contemporary of artist Vermeer and an executor for Vermeer when he died in in Delft was known to have exceptional lens making skills, having created single small lenses capable of x magnification, far exceeding those of more complex compound microscopes of the period.
Indeed, his feats of lens making were not matched for a considerable time as he kept aspects of their construction secret; in the s, C. Stong used thin glass thread fusing instead of polishing to recreate Leeuwenhoek design microscopes.
It was long believed that Antonie van Leeuwenhoek was a master lens grinder a notion repeated in the recent BBC television documentary "Cell".
However, it is now believed[ by whom? Van Eyck also left his signature above this mirror,  showing the importance of the tool. The painting includes a crown glass window in the upper left side, a rather expensive luxury at the time.From its earliest beginning in as one of Harvard’s twelve divisions, the Department has expanded its variety of fields to comprise expertise that spans the globe and ranges from antiquity to contemporary art.
Thesis topics. CU Boulder Department of Art and Art History Recent M.A.
Thesis Topics a full listing of papers/projects can be viewed at the Norlin Library “The Life of Bodies: Considering Inka Mummies as Material Symbols,” by Morgan Butts, School of Visual Arts Graduate Admissions Graduate Application Instructions.
Apply Preview the MFA Thesis Catalogue. The School of Visual Arts offers MFA programs in . Visual Art Essays Art Essays from the Current Issue Beauty in Brokenness: The Sculpture of Claire Curneen Essay by Richard Davey Appropriation and Representation Essay by Theodore L.
Prescott Art Essays from the Archive Browse more from Image. Writing a Formal Analysis in Art History The goal of a formal analysis is to explain how the formal elements of a work of art affect the representation of the subject matter and expressive content.
A bibliography of walking related publications. Please use the ‘comments’ form at the bottom of the page to contribute. Links to related bibliographies.