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Introduction about photographic oil painting nude |
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photographic oil painting nude Since the introduction of photography in 1837, photography and oil painting have had an alternatively hot and cold relationship. Even before 1837, a series of lens based drawing aids—camera lucida, camera oscura—recently brought into popular culture by painter David Hockney, introduced what we now would call lenticular vision to painters. But the high points of the relationship after 1837 are still very much with us, such as Edgar Degas’ inclusion of the limitations of photography in his paintings—over and under exposure, scale distortions—and later double exposure experiments with his own camera.
During the past two decades the photographic image has nearly made complete its escape from the single image in a frame. As an art form, it is now much more commonly combined with other media, transformed fully into another medium, or part of time based sequences and video. But photography has not escaped another of it’s confines—the debate as to whether it is just another picture making tool or an as yet not fully understood cultural language on favoritearts.info. Our association with it is so intimate and conservative in this latter regard that we still hesitate to accept translations or transformations, hanging on to the photographic until it disappears. |
| We generally have no objection when language painters remove everyday language from the street or the bedroom, or wherever it presumably gains its meaning and power, and recombine it into a new metaphoric idiom, poetry. But we don’t trust language as much as we trust the photographic image. Seeing and reading may be believing, but seeing a photograph is knowing. Digital manipulation has considerably weakened this, ironically blind, faith in the public mind, but it remains.
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