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Diorama  

Pieter van der Merwe

[Gk: ‘through view’]

Large-scale, illusionistic form of transparency painting, developed in 1821–2 as a public entertainment by the French scenic artist and pioneer of photography Louis-Jacques-Mandé Daguerre, in association with the architectural painter Charles-Marie Bouton (1781–1853); also the special building in which it was shown. Like the earlier Panorama, the diorama was a late step in the history of attempts to recreate the appearance of nature by means of painting and the mechanical regulation of light. Daguerre’s subsequent progression from the diorama to photography marks the vital change of medium by which this aim was eventually achieved in the form of cinematography. Daguerre’s device consisted of a fine cloth painted with landscape subjects such as mountains and evocative ruins, in a manner exploiting popular taste for the Sublime and the picturesque. The solid features of the paintings were executed in opaque colour, but transparent tints were used for the effects of atmosphere, weather, and time of day. The audience sat in near-darkness: the pictures were shown by means of daylight admitted through windows concealed both above the spectators and behind the intervening cloth and regulated by a system of shutters and coloured filtering screens. Light reflected off the front of the cloth was modified by light transmitted through it to produce effects ranging from sunshine to thick fog. Daguerre’s oil painting ...

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Mec art  

Term coined in 1965 as an abbreviation of ‘mechanical art’ by Alain Jacquet and Mimmo Rotella and promoted by the French critic Pierre Restany (b 1930) to describe paintings using photographically transferred images that could be produced in theoretically unlimited numbers. The term was first publicly used of works by Serge Béguier (b 1934), Pol Bury, Gianni Bertini (b 1922), Nikos (b 1930), Jacquet and Rotella at an exhibition at the Galerie J in Paris entitled Hommage à Nicéphore Niépce. In contrast to the use of screenprinting by Americans such as Robert Rauschenberg and Andy Warhol to incorporate photographic images, the Mec artists projected images directly on to canvases coated with photosensitive emulsion, and they generally used the method to alter rather than merely reproduce the original photographic image. In his Cinétizations, for example, Bury cut and turned concentric rings in the original photograph before rephotographing the image and transferring it on to canvas, as in ...