Pictorial Space throughout Art History: Cézanne and ... - ARAS

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ARAS Connections Issue 2, 2012 After the School of Paris Cézanne's influence diminished. Hopper's paintings have plastic qualities as do some of de Chirico's and Balthus' paintings. Knowledge of pictorial space was brought to the United States by Hofmann who had been in Paris from 1904 to 1914. Hofmann taught in Munich from 1914 and then in New York from the 1930s until the 1950s |18|. Erle Loran acknowledged Hofmann's influence and also learned from Cameron Booth who had studied with Hofmann in Munich. Robert Casper studied in New York with Hofmann and with Cameron Booth. Pictorial space in the literature To study pictorial space you must study plastic paintings but, to do this, you must know beforehand which paintings are plastic. Because pictorial space is extraordinarily difficult to achieve you should assume it only in the masters listed above and, even in their work, not always. Cézanne did not always achieve it (he sometimes threw unsuccessful paintings out the window of his studio; his dealer retrieved several from the branches of a tree) and Picasso sometimes worked too quickly to be plastic. It is hard to distinguish a plastic painting from one which is not: the eye is seduced by subject matter, color, composition and expression. Without training you may see pictorial space only as a mysterious authority. Most critics and art historians discuss pictorial space not at all or in a cursory or misleading fashion: for example neither Kenneth Clark nor Herbert Reed discussed it. Pictorial space has to be understood by the eye: verbal logic or metaphor won't do it. The few explanations are by artists. The sculptor Adolph The images in this paper are strictly for educational use and are protected by United States copyright laws. 6 Unauthorized use will result in criminal and civil penalties.
ARAS Connections Issue 2, 2012 Hildebrand published The Problem of Form |19| in Munich in 1893, the painter and critic Roger Fry published Cézanne: A Study of His Development in 1927 |20| and the painter André Lhote published Traite du Paysage |21| in Paris in 1939. Each of these men discussed pictorial space but none of them clarified the problem with diagrams. Erle Loran published Cézanne's Composition |22| in 1943. Loran compared Cézanne's landscapes with photographs of his motifs, showing how Cézanne transformed his motifs to achieve pictorial space. Loran used diagrams to explain pictorial space but he did not distinguish it sufficiently from other aspects of Cézanne's composition. Loran overemphasized details, especially overlapping planes, and confused them with the underlying plastic framework. The first painting Loran analyzed was Still Life with Apples. His stated purpose was to illustrate the “recurring principles of composition in Cézanne's art” |23|. You may need to educate your eye by studying the diagrams in what follows here before you can see what I am about to describe. The images in this paper are strictly for educational use and are protected by United States copyright laws. 7 Unauthorized use will result in criminal and civil penalties.
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