Altdorfer's HIdden SKULL
Charles Eicher
> The technique you mention is called "anamorphic projection," and it was
> very popular during the 16th century. Some painting were painted so they
> were almost abstract from a frontal view, but when viewed as you ascended
> a staircase they would look realistic. On table I saw looked like an abstract
> expressionist piece with a pefect circle in the middle: when a polished
> brass cylinder was placed in the circle, a realistic painting was visible
> in the reflection in the cylinder.
I have a really nice book called 'Hidden Images' that came with a little
sheet of mylar that you rolled up into a cylinder to see the images. And
there were examples of images viewed in cones.. I don't know where to get
a mirrored cone, but I bet they are expensive.. ha. Anyway, these are
'cylindrical anamorphic' and 'conical anamorphic' images..
Check the library, 'hidden images' is out of print but it has some
wonderful work in it (if you can find it). I'm especially fond of the work
of Pozzo.. He did an anamorphic hallway in the Vatican.. It has an arched
roof, but when you stand at the center (marked by a marble disc on the
floor) the painted arched ceiling suddenly appears to have a flat roof
with ornate columns holding it up..
------------------
Charles Eicher
cei...@netins.net
------------------
va...@cwu.edu
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Within The French Ambassadors, Altdorfer seems to display all the
characteristics of a realistic painting. Since everything seems to have
been the product of his observant nature and skillful technique, it is
difficult for me to understand why he would choose to put a distorted shape
in the immediate foreground. When you view the painting across, rather
than at the picture plane, you can see a form that becomes a skull. The
quick onlooker would possibly dismiss it altogether, but one who has been
instructed to observe the painting at a different angle would be able to
share the meaning with Altdorfer. I understand the fact that it represents
the mortality of life, but I fail to understand how this undistinguishable
shape holds a place within a reasonably realistic painting. Is there
anyone else who can justify this illusion? I agree that Altdorfer is an
amazingly skillful artist to be able to paint the skull in such a
remarkable way that one cannnot originally identify it, but it seems like
this mysterious shape just does not belong in this carefully structured and
realistic setting.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
NIce observation Traci, but that painting is by Holbein, not Altdorfer.
The technique you mention is called "anamorphic projection," and it was
very popular during the 16th century. Some painting were painted so they
were almost abstract from a frontal view, but when viewed as you ascended
a staircase they would look realistic. On table I saw looked like an abstract
expressionist piece with a pefect circle in the middle: when a polished
brass cylinder was placed in the circle, a realistic painting was visible
in the reflection in the cylinder.
vance
Vela Press
B. There is a lot of interest in mysterious things as in the content of
the mentioned paintings. I thank Charles E. for the names of the books to
look up.Just to add some seasoning to the soup, I looked up comments of
"rebus" ( pictorial puns)as related to this painting. "hohle bein" per my
dictionary translates to "cave leg" not "hollow bone". "Hollow bone" in
German (per my dictionary)is "Hohl grate". Maybe a teacher of the German
language can assist? I know Traci B. began by stating the painting of "Two
Ambassadors", with the" hidden skull" was by Altdorfer, and she was
quickly corrected by several, yet now, a message on 5/13 by Michael M.
describes an apparent different painting (by Altdorfer?) where he paints
"A Skull" with a hidden image of "two ambassadors"? Michael also mentions
a great book. Thanks. So now we have these images described as "
anamorphism""subliminal cues""anamorphic art", "imbedded images",and
"anamorphic projections", all describing or naming a technique of visual
representation.
My interest in this is because of my own discovery of a cryptic self
portrait of Rembrandt in one of the worlds most famous paintings (
de-attributed about ten years ago). To each of you that is interested I
will send you a xerox copy of my discovery, see my address on message
from 5/16 (Velapress).