Secret History
The Hockney-Falco thesis is a theory of art history that suggests that artists of the 15th century used optical aids to improve their art. This theory was proposed by artist David Hockney and physicist Charles M. Falco. These two individuals provided plausible evidence towards their claims that the advancement of realism and accuracy in art during the renaissance period was primarily the result of optical aids such as the camera obscura and the camera lucida as opposed to artists’ technique and skill.
The Hockney-Falco thesis argues that the work produced by the ‘Old Masters’ could not have been created by observation alone due to the level of accuracy and precision. Hockney demonstrated this shift from the 15th century to the 19th century in what he called ‘The Great Wall’; images of realistic art arranged on a timeline. This visual timeline allowed a quick and easy glance at the advancement of the quality of art, exploring details in facial features, clothing as well as proportions.
As a result of the increase in accuracy of a figures features, Hockney and Falco speculated that artists had used visual aids. They compared paintings from different times as well as from the same artist to see how they had improved. Furthermore, artist Jean Auguste Dominique Ingres aroused suspicion. Most of his sitters were strangers however still remained accuracy despite it being easier to capture the likeness of someone known well. Also, artists who simply use their hand and eyes alone to draw have to strive to represent the form of the figure before them. However, in Ingres’s portrait drawings his lines are swift, precise and accurate. Therefore, it is suggested that Ingres used a camera lucida; a prism on a stick that creates the illusion of what is in front of it onto the paper below. In support of this, in his drawing ‘Madame Louis François Godinot’, the females head appears larger than her body, insinuating that the device may have been moved which affected the magnification of the image.
Similarly, fleeting emotions such as smiles have surprisingly been captured in paintings. However, the rapid improvement in detail in these expressions over time suggest that optical aids were used. For example, it is thought that Gerrit van Honthorst used optical aids as his improvement in skill is questioned by the images below. His drawing on the left seems rather unrefined compared to the image on the right.
In terms of clothing, the development in accuracy of patterns on elaborate clothing, especially on curved or folded surfaces sparks speculation of visual aids. In the images below, the image to the left is simple and 2-dimensional with limited use of tone. However, the image in the middle has tone to show the creases of the clothing as well as detail to pattern and embellishments. Lastly, the image to the right has tone and shadows to appear 3-dimensional, attention to patterns and details to the stitching of the dress. Similarly, there is a resembling change in armour as over time it becomes more 3-dimensional, shiny and realistic.
From all the evidence Hockney and Falco provided in their thesis on how artists may have used visual aids, it can be presumed as plausible. However, this arouses questions as to whether this can be considered cheating or an aid for measuring. Initially, I believed that the awe created by the works of our ‘Old Masters’ was destroyed by the knowledge that optical aids were used. However, upon exploring the secret history of art, I have realised that the rediscovery of these aids and methods may be beneficially in today’s society. As stated by Roger Bacon, “the secrets of Nature…are not spoken of, least every man should understand them”. Similarly to artists during the 15th-19th century, we still use visual aids such as photographs as references or to be included in our art, digital art created on computers and tracing paper. Should these be considered as tools for cheating? Or should they be recognised as aids that can help enhance an artist’s work.
Did the camera kill art?
The emergence of the camera, otherwise known as a ‘camera obscura’, surfaced in the 16th century. This device formed an image that was upside down on the opposite wall, helping artists such as Leonardo da Vinci and Michelangelo draw accurate pictures. The invention was later made portable by the 1700’s and more accurate as a result of the daguerreotype; a method of photography, leading to the modern-day camera of the 21st century.
There is much controversy surrounding the invention of the camera and its effect on art. Its invention led to a decline in clients for portrait artists whose role was to capture someone in a realistic way. Instead, this role was fulfilled by camera’s which were quicker, more precise and efficient. Subsequently, art was forced to adapt to survive by transforming its original role to the less realistic approach of capturing emotion and experience.
Impressionism:
However, despite the camera forcing art to transform, it’s invention ignited the creation of several art movements that are still evident today. Thus, it could be argued that the camera didn’t necessarily ‘kill’ art but reinvented it. For example, unlike renaissance paintings, impressionists painted directly onto wet surfaces to produce softer edges, developing the technique called impasto, and used light backgrounds. Also, impressionists were first to use complementary colours in shadows. This created a brighter style of art compared to renaissance art which used chiaroscuro. For instance, Monet’s ‘Wheatstacks’ features orange wheat stacks and its shadow is painted using blue.
Similarly to impressionists, in my project I am able to manipulate light in order to convey a particular mood, atmosphere or place. In addition, I can smooth objects to create a softer object using Maya, showing the relevance of impressionism.
Cubism:
Further into the early 20th century, art altered once again as cubism was pioneered by artists Pablo Picasso and Georges Braque, delving deeper into unrealism. As described by critic Louis Vauxcelles, cubism reduces everything to “geometric outlines, to cubes”. Also, this movement inspired the creation of constructivism which focuses on constructing art and architecture. Chivers (1998) describes “Cubism [to have] abandoned traditional notions of perception, foreshadowing and modelling”, adopting a new style of painting that shows the subject from several angles simultaneously. Likewise, my project involved constructing complex buildings from basic shapes as everything can be reduced to geometric lines and shapes.
Abstract expressionism:
In the 1940’s in New York, art morphed into abstract expressionism: a type of abstract art that portrays the artist’s emotion and focuses on inner energy. This is shown by the use of gestural brush-strokes or mark-making and the impression of spontaneity in them. Abstract expressionism was inspired by the surrealist idea that art should come from the unconscious mind, resulting in the expressive and emotional process of action painting. Equally, this art movement and my project involve a level of creativity which expresses the artists own style of art.
Photo-realism:
From the late 1960’s to present day, art has returned to its original role: to capture someone in a realistic way. With the help of photographs as references for their artworks, photo-realists are able to hyper-realistically paint details of people, objects, vehicles, etc. This involves studying a photograph(s) and attempting to reproduce the image as realistically as possible. With the progression of new technology, the quality and accuracy of these paintings are heightened. Similarly, to artists in the 15th century, visual devices were also used to aid artists in their works. Also, in my project my aim is to achieve realism in trying to convey New York City. This is done by the use of lighting to create shadows, textures and bump/ normal maps to make the objects appear 3-dimensional.
Therefore, as art’s role has reverted to capturing the likeness of someone or something, it could be argued that the invention of the camera transformed art for the better. Consequently, art was able to become more expressive and created different techniques that have helped art become more realistic than it was in the 15th century. Furthermore, photographers such as Edward Muybridge created the zoetrope; a device that shows a moving picture. By focusing on motion and breaking down movement into multiple images, Muybridge helped in the world of animation. In addition, unseen cameras are used in games and several images from different angles can be used to make a 3-Dimensional model.
Animation & Games design 