But hockney ' s theory would push the earliest date a quarter of a millennium earlier still 但霍克尼的理論把這種技術(shù)更往前推了250年有馀。
Hockney : all right , fuck the debt - and fuck you ! how do we know you work for soze 霍克內(nèi):好吧,去他媽的償還,去你媽的!我們怎么知道你是在為索澤工作?
According to hockney , the chandelier “ is in perfect perspective , ” as it would be if drawn under projection 據(jù)霍克尼的說法,這盞吊燈具有完美的透視,如果它是用投射法畫成的,也理當(dāng)如此。
Among the lost artworks were paintings by pablo picasso , david hockney ( ph ) and roy lichtenstein , photographs by cindy sherman 損失的藝術(shù)品中有畢加索、大衛(wèi)?霍克尼和李奇登斯坦的繪畫,辛迪、謝爾曼的攝影作品。
My finding about the unlikely focal length of the putative projection mirror has a second implication , even more constraining to the hockney theory 既然設(shè)想中投射鏡的焦距不太可能實(shí)現(xiàn),我的發(fā)現(xiàn)還延伸出第二個(gè)推論,更使霍克尼的理論受限。
Van eyck ' s portrait of giovanni arnolfini and his wife ( 1434 ) ? one of the earliest masterpieces in the northern renaissance ? is a key exhibit in hockney ' s theory 范艾克的阿諾菲尼的婚禮( 1434 ,北歐文藝復(fù)興最早的杰作之一)在霍克尼的理論中居關(guān)鍵地位。
Given the surviving records for all manner of other optical systems and mechanical drawing aids , the absence of evidence for the hockney projector is difficult to explain 其他光學(xué)系統(tǒng)與繪圖輔助工具的記錄,到今天都還留存了不少,為何唯獨(dú)缺乏霍克尼投影設(shè)備的證據(jù),顯然很難解釋。
It is hard to reconcile this requirement with the manifestly indirect indoor illumination in the arnolfini portrait and in many early renaissance paintings adduced as evidence by hockney 這就與霍克尼引證的阿諾菲尼肖像及諸多文藝復(fù)興早期繪畫不一致了,他們的照明顯然是室內(nèi)的間接光線。
And so important are these optical instruments and techniques to his theory that hockney says the history of art from that time is intimately linked with the history of optics itself 由于光學(xué)設(shè)備和技術(shù)對他的理論來說至為重要,因此霍克尼認(rèn)為,藝術(shù)史從那時(shí)起就已經(jīng)與光學(xué)的發(fā)展史息息相關(guān)。
The artist would then either trace the contours of the image and apply paint or perhaps even paint directly under the image , although , as hockney acknowledges , painting under optical projections is extremely difficult 然后畫家可以描下影像的輪廓,之后再上色,或是甚至直接就著影像作畫;不過霍克尼本人也了解,在投射的影像上直接作畫其實(shí)非常困難。