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128 of 149 people found the following review helpful:
5.0 out of 5 stars
Wow!, November 6, 2001
Great book. Reads like the denouement of spell-binding mystery novel with the visual and textual evidence mounting piece by piece until the conclusion seems inevitable. As a working artist, Hockney teases out clues that may have eluded art historians. The book itself is a piece of artwork with excellent reproductions, skillful layout and beautiful typography. There is one sore spot. Historical and scientific types will quickly notice that Hockney reached his conclusions BEFORE his two year search for evidence and that weaknesses in the argument and evidence are not fully considered. The examples appear selective and are possibly not representative. Looking at the sample artwork, you can see his point but would not be suprised to hear valid alternative explanations. Though not proof positive, the work is persuasive, enlightening and more than a little revolutionary.
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47 of 53 people found the following review helpful:
5.0 out of 5 stars
Hockney's Evidence is Thought-Provoking, Verifiable/Falsifiable, March 26, 2007
Critics and reviewers who have rated Hockney's Secret Knowledge low seem to me to overlooks some major points. Some of these I find more persuasive than the the issue of alleged perspective misjudgment which seem to attract the greatest heat.
1. H points out that a huge majority of portraits in the period show the model as left handed--some 80%. This is consistent with use of lenses and inconsistent with the frequency of left-handedness in the population. Now, here is a verifiable fact. Are H's numbers right--or are they not?
2. H is not claiming that everyone 1400-1650 was a poor draftsman. At least in what I've seen so far, he doesn't claim e.g. that Rembrandt used optics. Part of his evidence is however that some artists who were great painters were not great draftsmen--their painting exceeds in accuracy their draftsmanship. Now this appears to me again something that is verifiable by a third party. (The question of H's own draftsmanship abilities is totally irrlevant. I don't like his art much myself).
3. In a highly competitive art market, where realism counted, what is the likelihood that artists would >not< use devices that helped them both with accuracy and speed? Even if the great Ren artists could paint and draw realistically without optics (and their education certainly was thorough), throughput and competitive concerns surely would have pushed them in that direction.
4. To my knowledge, no one has responded to H's claim that the change in light to very strong with dark shadows from about 1400 (light is flat) to 1500 is very consistent with use of optics. Yes, that is not the only possible explanation. But from a philosophy of science perspective, this phenomenon and the phenomenon of increased accuracy need to be explained. H at least offers an explanation. The burden of an alternative explanation is on the critics. H's hypothesis could be falsified by showing that in fact strong lighting was used before this period and flat lighting afterwards.
5. Another phenomenon for which H has an explanation but for which I haven't seen alternatives is the fact that in many realistic paintings, depth of field is evident. An example is the famous Vermeer milk pitcher painting. H has an explanation of why the foreground breadbasket is out of focus, while the background basket is (oddly) in focus. If a critic doesn't like H's explanation, he/she should provide an alternative.
6. H shows that in some cases extremely precise scaling is evident--scaling that would be very difficult to do by hand. Prof Falco, the optics and superconducting physicist who collaborated with H., has done the math and claimed that obtaining such accuracy by hand is very difficult since the error is (as I remember) under 2%). Doing anything by hand with under 2% error is quite a feat--including reconciling bank statements :)-- never mind drawing. Here is another phenomenon in which either the factual statements by H and Falco can be easily verified/falsified or need an alternative explanation should be provided.
On an ad hominem note, I think it is worth pointing out that art historians have a built-in motive for rejecting H's hypothesis: They didn't find it! I took an amateur to notice the discrepancies. Finally, personal experience suggests that some people have a lot more difficult time with accuracy/obtaining a likeness than others. For H to be correct, he does not need to support the claim that everyone who was accurate used optics, only that some did and these raised the bar for the art community as a whole.
Thanks for reading.
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36 of 43 people found the following review helpful:
5.0 out of 5 stars
Fascinating historical reconstruction., February 26, 2005
The premise is simple: Hockney believes that the Old Masters of European art used tools and techniques of which little record remains. This book presents his justification for that belief.
The first half of this book is visual. It shows the original paintings and drawings that led Hockney to this idea. Once it's pointed out, many signs are unmistakable: odd proportions in otherwise masterful works, inconsistent perspective drawn by people who really knew perspective, and a few other better-known oddities. Although I'm not a fan of Hockney's own work, I respect the training and sensitivity that picked out these features.
Hockney goes on to show how these artifacts could have come from use of a family of optical tools, including camera lucida and several variants on the camera obscura. This is where he brings the most to this book, in trying the tools himself, as an artist, and seeing what unique features each tool imposes on the resulting artworks. This is what has so many critics upset - the idea that the Old Masters might have used every tool possible to complete their commissions faster, and to give their patrons the most pleasing result for the ducat. Those critics know about the assembly-line work in some of the Old Masters' studios and who know about the other mechanical aids that are well documented, but squawk at the idea of adding another tool to their toolboxes. Huh?
Hockney's evidence is often circumstantial, since painting was (and often is) a secretive and competitive business. Still, he offers a good story, and the second half of the book adds a strong foundation of written records to the structure. This is the book's weakness, though. Hockney is an artist, not a historian or optical technologist. He chose a story-telling format for presenting his findings, the letters he exchanged with scholars and specialists in other fields. It has a friendly look, but lacks in density and in organization of the historical records.
Despite its many flaws, I find it a fascinating study. Hockney really brings history to life, with his own hands, dispelling the idea that historical study is a dry, dusty practice. His documentation lacks in formal rigor, and he addresses the Great Masters about whom people have strong sentiment. Some people see that as iconoclasm for its own sake - guys, get over it.
-- Address his facts with facts. Name-calling says more about you than him.
-- Picking one nit (and there are lots) doesn't pick apart the whole presentation.
-- Don't assume that Hockney's own art (of which I'm not a fan) decides the merit of his historical analysis.
-- Accept the idea that his eye may be better than the words he can put to his vision.
It's an honest and vivid account, with a good base in reason and fact. It deserves respect on that account, and works hard to earn the reader's enjoyment. I recommend this to anyone interest in the history and practice of visual art.
//wiredweird
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