Dan Proops's digital culture-inspired oil paintings

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19 Responses to “Dan Proops's digital culture-inspired oil paintings”

  1. Dan Proops says:

    ‘just a weak justification for analytic Cubism’s break away from realism’ ???how would Suedehead suggest Picasso and Braque DID move away from realism if not by reconstructing the viewers perception of it.

    If Suadehead, you had in any way studied analytical cubism you can easily make out different perspective viewpoints in many of the works such as Braques’ ‘Houses at L’estaque’. In paintings like this and MANY like it Picasso and Braque show off multi-percpectival views within the work. Can this really be denied?

    Cubism has many meanings and connotations, much of which has been read into it by often cras intellectual post-cubist gushings many years after the production of the work.

    To say Picasso and Braque are in fact super- realist is just facile and ridiculous. – Realism in what sense? Realism is a term given to a painting style associated with the ‘mimetic’ reproduction of a scene within a traditional perspective framwork – infact Cubism took an anti- mimetic stance by referencing from as opposed to reproducing elements within the architecture of visual perception.

    ‘that cubism is about a flattening of the image to adhere and echo with the flattening of the picture plane,’

    Do you really see Cubism as a flattening of the Image?? – I would agree that in the post-Cubist holocaust of proto abstraction such artists like Mondrain or Rothko flattened the image, but there is true depth and a great sense of three dimensionality that can be found in much of cubism esp the Analytical epoch. Even in Synthetic Cubism there is a three dimensionality to the work.

    ‘utilizing a single sign (a tilted plane) to represent many different aspects of the image.’

    I would actually suggest there to be the opposite happenings within Cubism.

    Picasso/Braque actually broke single subjects such as a still life or guitar and broke it down to many facets (infulenced by both African Pre-Iberian Sculpture and Cezannequsque form.

    Saying that

    ‘In short — to say that Cubism is a representation of a single object from many viewpoints at once, is just a copout against having to accept that Cubism is actually not realist’

    is like saying that it is a cop out to say that a motorcycle is fast – indeed it maybe many things, black, shiny, or expensive but it is undoubtably fast.

    Cubism is multifacted both in form and in meaning and interpretation…there are many facets of meaning that we can attatch to it including the Cubists depiction of a single object from many internal percpectival viewpoints.

    Dan Proops

  2. suedehead says:

    the cubist mentality of setting up objects and environments and viewing them from different vantages from within the same space

    Ahh! When will stop thinking that cubism is a simultaneous viewing of a single thing from many different viewpoints? I repeat — this is not what cubism is — cubism is really a simultaneous reconciliation and rebellion against the flatness of the picture plane, by creating smaller faceted planes (within the painting) that ‘jut out’ slightly.

    Oh, and #2 — nope. Although not specifically in concord with the computer-pixel, look at Gerhard Richter (http://www.gerhard-richter.com/art/detail.php?paintID=6089), which was two years before Dali. Ellsworth Kelly painted some pieces in the 50s, I think, too.

  3. suedehead says:

    Sorry, Dan Proops – I’m not ignorant of cubist ideology, it’s just that you’re adhering to a popular misunderstanding of cubism.

    Really, an “ability to show different viewpoints” is just a further adherence to the sort of positivism and scientific knowledge, and eventually just a weak justification for analytic Cubism’s break away from realism/mimetic depiction — that is, “Picasso and Braque are actually being super-realist, in that they’re being more scientific and actually showing something from many different sides”.

    The viewpoint I argue — that cubism is about a flattening of the image to adhere and echo with the flattening of the picture plane, is actually a viewpoint that Picasso’s friend and dealer Kahnweiler (as well as Clement Greenberg, later in the 60s) argued for. Also — arguably, Picasso is being influenced by the linguistics of Saussure, and utilizing a single sign (a tilted plane) to represent many different aspects of the image.

    In short — to say that Cubism is a representation of a single object from many viewpoints at once, is just a copout against having to accept that Cubism is actually not realist, not mimetic, is just a continuation of the 19th-century positivist notion of painting that Picasso and Braque was in fact moving against.

  4. Drowse says:

    Wow, this is cool, I’m sort of surprised I’ve never seen anything like this before.

  5. Dan Proops says:

    Thanks for the commenst on my work just to say that although there have been connections made with fine art and design there has been very little art made commenting on these theories.

    I think there are strong links with the theories and ideals found in cubism (IE to be able to look at different viewpoints or ‘windows’ within the same image) and contemporary design of the GUI.

    http://www.samsdesktop3.com

    is the website for my upcoming show.

  6. Dan Proops says:

    ‘Ahh! When will stop thinking that cubism is a simultaneous viewing of a single thing from many different viewpoints?’

    this comment shows that suedehead is ignorant of the basic and fundamental theories of cubist ideaology. Although the form redistribution of the 2D plane is indeed prevelant in Cubism.. the ablity to show different viewpoints esp in Picassos and Braques Analytical cubist period can not be denied…

    Dan Proops

  7. Jake0748 says:

    This IS cool. Dali painted some similar things, he was one of the first painters to explore the idea of pixels.

    Check out:

    http://www.sptimes.com/2005/08/14/Floridian/Gala_Contemplating_th.shtml

  8. oulipian says:

    These are kind of bland. The artist might want to read Lev Manovich’s essay “Avant-garde as Software” or “The Language of New Media” instead of speculating that no one has “properly looked at” the influence of the 1920s avant-garde on interface design.

  9. suedehead says:

    ‘just a weak justification for analytic Cubism’s break away from realism’

    whoops — that should be an ‘against’, not a ‘for’. To reiterate — I think that Cubism does break away from realism, and I do NOT think that Cubism is super-realist — rather, the opposite. I apologize for my typo.

    “Do you really see Cubism as a flattening of the Image?? – I would agree that in the post-Cubist holocaust of proto abstraction such artists like Mondrain or Rothko flattened the image, but there is true depth and a great sense of three dimensionality that can be found in much of cubism esp the Analytical epoch. Even in Synthetic Cubism there is a three dimensionality to the work.”

    Yes, I do. Cubism has a sense of depth, but within a shallow plane. This is what I’ve been talking about — a simultaneous depth and flatness, as a sort of semi-reconciliation of the image and the medium. Cubism doesn’t have a “great sense of three dimensionality”, though — it’s not a window onto a world, not a Michelangelo piece with proper Renaissance perspective.

    I mean, around the early 1910s, Picasso (and Braque) is being influenced by Cezanne, who is also continuously flirting with flattening the image at the time — look at his Mont-Sainte-Victoire. So I do think so, also from a genealogical standpoint.

    In the ‘Houses at L’Estaque’ by Braque example that you gave, the houses are very solidly three-dimensional, but at the same time are pressed and flattened by the tree and in the foreground, as if the houses are tumbling out of the image, but the tree forces them flat again. There’s this incredible tension between the houses having depth, and the entire image being rendered as flat. I think this tension is the core of cubism.

    about the sign:
    “I would actually suggest there to be the opposite happenings within Cubism.”

    Well, I’ll explain – in Picasso’s painting 1912 Violin, he introduces newspaper into the painting. The newspaper stands as both the surface of the violin, and the surface/wallpaper behind the violin, at the same time. The single cut-out outline of the newspaper both indicates the boundary of the violin, and also the negative space of the violin. The same sign/object functions as two different signifiers. There’s a sense of depth brought on by the placement of the two sheets of newspaper, but at the same time, they’re both newspaper on top of canvas, so it’s clear that the canvas itself is flat. Here, even in synthetic cubism, is this tension between flatness and depth.

    “In paintings like this and MANY like it Picasso and Braque show off multi-percpectival views within the work. Can this really be denied?”

    Jagged, incoherent angles do not mean that the painting harbors several different perspective viewpoints. Perspectival viewpoints implies a very realist, objective way of looking at things, but you too seem to reject the notion that Cubism is realist.

    How do you deal with the fact that Picasso’s and Braque’s paintings are not coherent in terms of their ‘many internal perspectival viewpoints’? That is, don’t you think that if “looking at an object from many different points of view” was their intention, then they would have created images with strict, proper vanishing-point perspectives, but with several of these perspectives combined in a single image? Instead, their paintings aren’t geometric enough, are ‘imperfect’ lines and creations joined together…

    Also — you seem to dislike anything after cubism — you mention the “post-Cubist holocaust of proto abstraction”.. care to explain why?

  10. backlikeclap says:

    I actually saw a similar piece at a local gallery – it was Girl With a Pearl Earing, but pixilized so much that the entire painting was represented with 12 squares.

  11. Roach says:

    Calvin: A painting. Moving. Spiritually enriching. Sublime, … “high” art! The comic strip. Vapid. Juvenile. Commercial hack work, … “low” art. A painting of a comic strip panel. Sophisticated irony. Philosophically challenging. … “high” art.

    Hobbes: Suppose I draw a cartoon of a painting of a comic strip?

    Calvin: Sophomoric. Intellectually sterile. …”low” art.

  12. AudioTherapist says:

    Wonder how long it’ll take for Bullmer et al to have a go at suing Picasso and Braque for copyright infringement…

  13. LSK says:

    Is the character on the right supposed to vaguely resemble Final Fantasy X’s Rikku?

  14. Sardenta says:

    #7: No.

    From Wikipedia (b/c I’m too lazy to pull a 20lb art history text off my bookshelf):
    The Girl with a Pearl Earring (Dutch: Het Meisje met de Parel) is one of Dutch painter Johannes Vermeer’s masterworks and as the name implies, uses a pearl earring for a focal point. The painting is currently housed at The Mauritshuis in The Hague. It is sometimes referred to as “the Mona Lisa of the North” or “the Dutch Mona Lisa”.
    Painted circa 1665-1675

    More likely that FF X’s Rikku is supposed to resemble this young servant girl.

  15. Takuan says:

    are there really lost Vermeer’s out there?

  16. Dan Proops says:

    Thanks for your long and interesting posts…

    I just wrote a very long answer to your post but pressed the back button and lost the writing..

    but I was just saying that I agree that in SYnthetic Cubism there was definately a flattening of the Image but in the proto-Cubist work such as Picassos monumental nudes etc there is a real depth and sculptural feel to those works ..as Pic / Braq lead themselves into Analytical Cubism the Multi percpectival viewpoints became more dramatic and the ‘Image’ was only really flatttened in Synthetic Cubism in my view..

    I see the Cubist paintings rather like an orange peel that has been opened up and then flattened, so in this way I feel you are right about the flattening of the Image in Synthetic but not so much in Analytical cubist work..in which there are multiple viewpoints..

    Indeed it was the demolishing of a singular ‘realistic’ percpective point that was the huge stride forward in Analytical Cubism. By creating many viewpoints within the same Image the Cubists created a new kind of reality not the representational type that is found from Giotto onwards.

    Dan Proops

  17. padster123 says:

    You want Cubism and computers, you should look here:

    http://www.youtube.com/watch?v=s-DqZ8jAmv0

  18. padster123 says:

    Cubism an influence on GUI design? Hmm – I’d take a lot of convincing. But then again, cubism always left me totally cold.

  19. blogmother says:

    “It cannot be overlooked that the theories and ideas set up by the cubist mentality…”

    It can too be overlooked. For starters it has been overlooked by me–I would never have made the alleged connection if you hadn’t pointed it out.

    In my experience phrases or statements that purport to be definitive are anything but, especially when they come from enthusiastic amateurs as opposed to Subject Matter Experts (SME’s)

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