Perspective and Distortion as Modes of Representation of Power and Rebellion in D.H. Lawrence’s “Introduction to these paintings”
I first became interested in perspective when reading the written versions of Daniel Arasse’s radio talks on the history of art with frequent references to Erwin Panofsky’s essay, Perspective as Symbolic Form. Perspective is not only an artistic means used to convey a three-dimensional world onto a...
Enregistré dans:
| Udgivet i: | URI:https://journals.openedition.org/lawrence, |
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| Format: | Article ou chapitre numérique |
| Sprog: | Anglais |
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Études Lawrenciennes
2014
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | I first became interested in perspective when reading the written versions of Daniel Arasse’s radio talks on the history of art with frequent references to Erwin Panofsky’s essay, Perspective as Symbolic Form. Perspective is not only an artistic means used to convey a three-dimensional world onto a two-dimensional surface but also a symbolic means of ordering chaos. Perspective does not give a true vision of the world but an ideally ordered vision of this world, a normative, canonical one. I... |
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