| all rights reserved. copyright artstudioz.com 1997-2009 |
The question of the origins of painting is obscure ... Some say that its principle was discovered at Sicyon,
others claim it was Corinth, but all recognize that it consisted of drawing lines to trace the contour of the
human shadow.
Pliny the Elder, Natural History, 1st century AD
others claim it was Corinth, but all recognize that it consisted of drawing lines to trace the contour of the
human shadow.
Pliny the Elder, Natural History, 1st century AD
studio zeuxis
 |
 |
 |
 |
 |
 |
 |
When we create depictions of the human body, we often have a strange way of perceiving it; our self-images are capricious and
unstable; we are always ready to reconsider and reevaluate ourselves. Why are the ways in which we represent ourselves so
changeable, metamorphosing from one form to another? Are appearances trustworthy? Does an artist, transposing an image
of him or herself onto a piece of paper or into a block of marble, reshape that self-image?
In the modern era, images of the body have proliferated; we routinely see it represented accurately and in distortion, drawn and
photographed, in every posture and context, embellished, powdered and painted, magnified and denigrated, sometimes
bruised or mutilated. Do we even know why we struggle so to depict it? Images of the Body, Philippe Comar
unstable; we are always ready to reconsider and reevaluate ourselves. Why are the ways in which we represent ourselves so
changeable, metamorphosing from one form to another? Are appearances trustworthy? Does an artist, transposing an image
of him or herself onto a piece of paper or into a block of marble, reshape that self-image?
In the modern era, images of the body have proliferated; we routinely see it represented accurately and in distortion, drawn and
photographed, in every posture and context, embellished, powdered and painted, magnified and denigrated, sometimes
bruised or mutilated. Do we even know why we struggle so to depict it? Images of the Body, Philippe Comar
