WHEN THE WALL BECAME A WINDOW WEEK 4 All images may be found on the Web Gallery of Art site (http://www.wga.hu/index1.html) unless otherwise noted. Claus SLUTER • Portal of the Chartreuse de Champmol (Memorial to Philip the Bold), 1385‐93, Dijon • The Well of Moses, 1385‐93, Musée Archéologique, Dijon Limbourg Brothers (Note: do not use the pull‐down menu of artists in the Web Gallery of Art as the link appears to be broken. It will work beautifully with lots of images if you type in “Limbourg Brothers” in the Author space.) • Les Belles Heures, 1406‐09, Cloisters (Metropolitan), New York Annunciation to the Shepherds Pilate Offers to Free Either Christ or Barabbas • Les Très Riches Heures, 1413‐16, Musée Condé, Chantilly September Robert CAMPIN (Note: the Web Gallery of Art lists this artist as MASTER OF FLEMALLE) • The Nativity, c. 1444, Musée des Beaux‐Arts, Dijon • The Trinity, c. 1410, Städelsches Kunstinstitut, Frankfurt • The Merode Altarpiece , c. 1426, Cloisters (Metropolitan), New York Jan van EYCK (c. 1390‐1441) • The Ghent Altarpiece, 1432, Cathedral of St. Bavo, Ghent • Portrait of Giovanni Arnolfini and his Wife, 1434, National Gallery, London • The Annunciation, c. 1440, National Gallery, Washington, D.C. • Madonna in the Church, c. 1425, Gemäldegalerie, Berlin Petrus CHRISTUS (c. 1410‐1475/76) • Saint Eligius, 1449, Metropolitan, New York Rogier van der WEYDEN (c. 1400‐1464) • The Deposition, c. 1443, Prado, Madrid Hugo van der GOES (c. 1440‐1482) • The Portinari Triptych, c. 1473‐78, Uffizi, Florence Selected Examples Cited by David Hockney: • Jean‐Auguste‐Dominique INGRES: Portrait of Madame Louis‐François Godinot, 1829 • Dieric BOUTS the Elder: Altarpiece of the Holy Sacrament, 1464‐67, Sint‐Pieterskerk, Leuven • Albrecht DURER: Two Draughtsmen Drawing a Lute, 1525, woodcut http://commons.wikimedia.org/wiki/Image:D%C3%BCrer_‐_Man_Drawing_a_Lute.jpg •
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Hans HOLBEIN: The Ambassadors (Jean de Dinteville and Georges de Selve), 1533, National Gallery, London [anamorphic: producing, relating to, or marked by intentional distortion (as by unequal magnification along perpendicular axes) of an image <an anamorphic lens> http://www.merriam‐webster.com/dictionary/anamorphic] Guillaume SCROTS: Portrait of Edward VI, 1546, National Gallery, London with anamorph uncorrected ‐ http://www.usm.maine.edu/eng/scrots%20edw6a.gif with anamorph corrected ‐ http://www.usm.maine.edu/eng/scrots%20edw6.gif Lorenzo LOTTO: Husband and Wife, 1523, Hermitage, St. Petersburg Sites to explain/demonstrate the camera lucida/camera obscura: •
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http://www.rleggat.com/photohistory/history/cameraob.htm (camera obscura) http://brightbytes.com/cosite/notaco.html (camera lucida ‐ scroll down to 3rd heading) The best summary/supporting arguments for Hockney’s thesis: • Lawrence Weschler: Through the Looking Glass (note: Weschler is a frequent New Yorker contributor) http://www.believermag.com/hockney/lookingglass/ Account of the contentious conference: • Paul Lieberman: David Hockney’s ‘Secret Knowledge’ (note: Lieberman is a Los Angeles Times staff writer) http://www.koopfilms.com/hockney/articles.html Rebuttals from artists/scholars/writers: • James Hall: Review of David Hockney’s ‘Secret Knowledge,’ Sunday Independent (London), Oct. 12, 2001 (note: Hall is a Cambridge‐trained art historian, long‐time art writer for The Guardian) http://www.independent.co.uk/arts‐entertainment/books/reviews/secret‐
knowledge‐by‐david‐hockney‐748424.html • Tom Phillips: Optical Magic, Times Literary Supplement, 2 Nov. 2001 (note: Phillips, a painter who works in a wide range of styles and media, is a well‐known portraitist and member of the Royal Academy of Art) http://www.tomphillips.co.uk/essaysan/dhoc/index.html It’s getting messy in here ‐ arguments from ArtRenewal.org: • Ann James Massey: Review of David Hockney’s “Secret Knowledge” http://www.artrenewal.org/articles/2004/Massey/hockney1.asp • Art Renewal Center panel: Hockney Refuted •
http://www.artrenewal.org/articles/2003/Hockney_Refuted/hockney1.asp#Hockney%20Completely%20R
efuted,%20by%20Fred%20Ross Brian Yoder: Why David Hockney Should Not Be Taken Seriously http://www.artrenewal.org/articles/2004/Hockney/yoder4.asp