Formal problems in drawing normally refer to problems of line, shape,
colour, texture, tone; and the relationships between them. From such a
focus form emerges. The various meanings the spectator attributes to
the drawing look after themselves. Artists like Henry Moore spoke about
their concern with form. Listen to the architect Gehry talk about
paintings which inspire his architecture. He can discuss Northern
renaissance paintings in terms of pure form. An Australian painter,
Fred Williams, about whose work theorists have attributed
interpretations about Australian identity, simply said that the
landscape was a hook on which to hang his hat, so to speak. His
interest was purely in form.
Michael Jameson wrote:
> Dear David Haley, I meant David Hockney - not you. But to take your
> intellectual point seriously, I believe David Hockney is saying, "How
> you depict something is a formal problem.Meaning, Gregory the Great's
> aphorism: 'Pictures let the unlettered read', addresses the Why not
> the How. There's no answer to the How." Try [log in to unmask]
> <mailto:[log in to unmask]> for the literary reference. Ms Rushworth gave a
> talk last night at our St Albans Abbey's Christian Study Centre on a
> beautifully illustrated medieval MS of Bury St Edmunds cathedral which
> is now in the Vatican library. Does that help? Michael Jameson
>
> /-------Original Message-------/
>
> /*From:*/ The UK drawing research network mailing list
> <mailto:[log in to unmask]>
> /*Date:*/ 01/26/05 06:53:02
> /*To:*/ [log in to unmask]
> <mailto:[log in to unmask]>
> /*Subject:*/ Re: Why draw?
>
> With the greatest respect, given that this has generally been (in my
> opinion) a very interesting exchange, this is now getting a bit silly -
> am I meant to respond to 'Why draw?', or 'formal problems', as 'opposed
> to a problem'?
>
> Frankly, it's too late and these questions seem to be glib reactions,
> rather than considered inquiries (don't ask me to define the
> difference!).
>
> I know, these are the things I should ignore, so please have a go, at
> least, to offer an answer, or move on.
>
> Good night
>
> David
>
> On 25 Jan 2005, at 17:56, Michael Jameson wrote:
>
> > No idea! Ask David H!
> >
> > -------Original Message-------
> >
> > From: The UK drawing research network mailing list
> > Date: 01/25/05 13:45:41
> > To: [log in to unmask]
> <mailto:[log in to unmask]>
> > Subject: Re: Why draw?
> >
> > Michael,
> >
> > but what does 'formal' mean in this context?
> > what is a 'formal problem' as opposed to a 'problem'?
> >
> > John
> >
> > On Tue, 25 Jan 2005, Michael Jameson wrote:
> >
> > > David Hockney says p.68: 'I believe that the problem of how you
> > depict
> > > something is a formal
> > >> problem. It's an interesting one and it's a permanent one; there's
> > no
> > > solution to it. There are a thousand and one ways you can go about
> > it. There
> > > is no set rule.' Does that answer your question? Would you like
> > to be in
> > > the St Albans group? Best wishes, Michael J.
> > >
> > >
> >
> > --
> > Dr John G. Stell room: E.C.Stoner 9.15
> > School of Computing phone: +44 113 34 31076
> > University of Leeds fax: +44 113 34 35468
> > Leeds, LS2 9JT email: [log in to unmask]
> <mailto:[log in to unmask]>
> > U.K. http://www.comp.leeds.ac.uk/jgs
> > --------------------------------------------------------------
> >
> >
> > >
> >
> > <image.tiff>
>
>
>
>
> >
>
>
>
>
> <http://www.incredimail.com/index.asp?id=409&lang=9>
--
Dr. Jennifer A. McMahon
Postgraduate Coordinator
Philosophy
The University of Adelaide, AUSTRALIA 5005
Ph : +61 8 8303 5296
Fax : +61 8 8303 5241
e-mail: [log in to unmask]
Home page: http://www.arts.adelaide.edu.au/humanities/wp/jmcmahon/
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