| authors |
Redondo, Ernest and Monedero, Javier |
| year |
1992 |
| title |
Electronic Collage |
| source |
CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 241-250 |
| doi |
https://doi.org/10.52842/conf.ecaade.1992.241
|
| summary |
A painting is always a potential form of collage. The discovery made by Braque and Picasso was already implied in the carefully-done executions of tapestries backgrounds and mural decorating of all the italian and flemish paintings which started to be produced since Giotto's, where the represented and the presented were mixed up. And also, in a more pedantic way, in a famous painting of Courbet "L'Atelier du Peintre, allegorie reelle" (1885). In this work, the artist is shown sitting in front of his work, grasping a brush with his right hand while holding a palette, which is at the centre of the composition, in his left hand. There are some figures surrounding the master, some nearer, others further away; in the corners of the atelier one can still see silhouettes which we don't really know whether they belong to real characters or to painted ones on the master's canvases. This ambiguity brings us back to the foreground, to this central palette where the colours, distributed in heaps are, simultaneously, concretion and representation, real matter and figurative matter. |
| series |
eCAADe |
| email |
|
| full text |
 file.pdf (2,231,113 bytes) |
| references |
Content-type: text/plain
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| last changed |
2022/06/07 08:00 |
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