KG, I was not aware you were an art historian. Have you read the book 'The arcadian Cipher' which is based on one art historian's interpretation of Poussin's painting 'The Shepherds of Arcadia'.
I was far from impressed with the book but it would be interesting to hear from someone with knowledge in art history a view regarding 'codes' in paintings and if there is any credence placed on the various interpretations of such codes.
Sorry, I don't mean this to sound like an exam question.
Fine Art and the interpretation of code
Started by samscafeamericain, Feb 23 2009 02:23 PM
54 replies to this topic
#1
samscafeamericain
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Posted 23 February 2009 - 02:23 PM
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'Fiat justitia ruat caelum'
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Posted 23 February 2009 - 02:57 PM
KG, I was not aware you were an art historian. Have you read the book 'The arcadian Cipher' which is based on one art historian's interpretation of Poussin's painting 'The Shepherds of Arcadia'.
I was far from impressed with the book but it would be interesting to hear from someone with knowledge in art history a view regarding 'codes' in paintings and if there is any credence placed on the various interpretations of such codes.
Sorry, I don't mean this to sound like an exam question.
Poussin and the old 'Et in Arcadia ego' riddle, eh?
I haven't read that book Sam, so I can't really comment.
Perhaps I'll give it a look but it strikes me it might be jumping on the 'code' bandwagon, perhaps?
The most famous code that most people know about is the theory put forward in the Da Vinci Code.
Personally I think it's drivel. I can tell you why if you like.
Some people would say that all art carries a code of some description.
Even something as simple as a still life, say from the Dutch Golden Age, a painting of a table loaded with a variety of fish, fowl, bread and wine is coded.
It tells you what season it represents by the food shown – seasons that are themselves regarded in some painting as a form of code.
Above all it (the painting) tells you that the person who owns it is very wealthy, as they can afford to have a picture of food hanging on their wall.
It's function is probably more of signal than a code but it still requires a level of decyphering to fully understand it's intent.
I expect that when you say "code" you mean a secret.
The most famous picture that everyone has tried to crack for centuries is Giorgione's La Tempesta.
It's in Venice, I visit it every year - it's a tough one. I'll never crack it.
I meant to say, I'm not an art historian. I've just had a passion for Art History for 32 years.
I'm more of an art & design type.
#3
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Posted 23 February 2009 - 03:57 PM
I haven't read that book Sam, so I can't really comment.
Perhaps I'll give it a look but it strikes me it might be jumping on the 'code' bandwagon, perhaps?
Definitely and I would not recommend it to anyone
I expect that when you say "code" you mean a secret.
In this specific case yes, although it is interesting to hear how quite simple paintings can be interpreted.
The most famous picture that everyone has tried to crack for centuries is Giorgione's La Tempesta.
Thank you, I'll get that one googled tonight, I'll give you the answer in the morning
I meant to say, I'm not an art historian. I've just had a passion for Art History for 32 years.
No problem, makes you much more of an expert than me.
Thanks for that
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Posted 23 February 2009 - 05:26 PM
Well there's a surprise, notDefinitely and I would not recommend it to anyone
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Posted 23 February 2009 - 06:36 PM
Well there's a surprise, not
why is that not a surprise?
have you read the book?
The reasonable expectations of honest men must be protected.
'Fiat justitia ruat caelum'
'Fiat justitia ruat caelum'
#6
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Posted 23 February 2009 - 09:44 PM
why is that not a surprise?
have you read the book?
Get on with your research, get interested in another kind of tempesta.
Your homework is due at the end of the week.
#7
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Posted 24 February 2009 - 07:19 AM
Beautiful painting; does it have to hide a secret meaning?
Apart of course from the chaps staff pointing to where the Templars £billions in gold are buried
Apart of course from the chaps staff pointing to where the Templars £billions in gold are buried
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Posted 24 February 2009 - 11:32 AM
Don't you attempt to give me orders, ms "art historian"Get on with your research, get interested in another kind of tempesta.
Your homework is due at the end of the week.
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Posted 24 February 2009 - 11:36 AM
Not that one - but I know the story and have read the book by Baigent et al; and let's just say it doesn't surprise me at all that you in particular 'wouldn't recommend it'have you read the book?
#10
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Posted 24 February 2009 - 11:58 AM
I think what KG was saying was actually aimed at Samscaffff.Don't you attempt to give me orders, ms "art historian"
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Posted 24 February 2009 - 12:22 PM
I think what KG was saying was actually aimed at Samscaffff.
Yes indeed it was, thank you Gladtae.
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Posted 24 February 2009 - 03:01 PM
In that case, apologies for jumping to conclusions.
#13
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Posted 24 February 2009 - 03:38 PM
Does the perceived or actual code or secret meaning make a painting more attractive or does it detract from the visual impact?
Now that does sound a wee bit like an essay question but just a thought.
Now that does sound a wee bit like an essay question but just a thought.
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#14
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Posted 24 February 2009 - 04:06 PM
I blame Dan Brown and that rubbish Da Vinci Code book.
A bit like eating a Macdonalds - so many people do it so there must be something in it. Starting it and having to finish it for the quick fix of whatever is in it. Then at the end feeling unfulfilled and wondering why you bothered in the first place.
But, back on topic, I know a lot of artists use symbols and references in their work to add to it but if the viewer is unaware of them, does it make the appreciation of the image any less?
A bit like eating a Macdonalds - so many people do it so there must be something in it. Starting it and having to finish it for the quick fix of whatever is in it. Then at the end feeling unfulfilled and wondering why you bothered in the first place.
But, back on topic, I know a lot of artists use symbols and references in their work to add to it but if the viewer is unaware of them, does it make the appreciation of the image any less?
#15
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Posted 24 February 2009 - 04:23 PM
A bit like eating a Macdonalds - so many people do it so there must be something in it. Starting it and having to finish it for the quick fix of whatever is in it. Then at the end feeling unfulfilled and wondering why you bothered in the first place.
But, back on topic, I know a lot of artists use symbols and references in their work to add to it but if the viewer is unaware of them, does it make the appreciation of the image any less?
Maybe you appreciate it more because your natural responses are not impaired by intellectual pondering or maybe just different ways of looking.
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Posted 24 February 2009 - 04:30 PM
So, what is a "natural response" Pat and why should an "intellectual pondering" impair it?
What's an "intellectual pondering" for a kick off!
What's an "intellectual pondering" for a kick off!
#17
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Posted 24 February 2009 - 04:43 PM
Not that one - but I know the story and have read the book by Baigent et al; and let's just say it doesn't surprise me at all that you in particular 'wouldn't recommend it'
A badly written, clunkily researched book is just that. But it is sad that you see fit to pass disparaging remarks on something you admit you know nothing about.
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'Fiat justitia ruat caelum'
'Fiat justitia ruat caelum'
#18
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Posted 24 February 2009 - 04:46 PM
Does the perceived or actual code or secret meaning make a painting more attractive or does it detract from the visual impact?
Now that does sound a wee bit like an essay question but just a thought.
I think the Hercule/Miss Marple in all of us enjoys a detective story and combine that with fine art and you have a winner.
The reasonable expectations of honest men must be protected.
'Fiat justitia ruat caelum'
'Fiat justitia ruat caelum'
#19
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Posted 24 February 2009 - 04:47 PM
I blame Dan Brown and that rubbish Da Vinci Code book.
A bit like eating a Macdonalds - so many people do it so there must be something in it. Starting it and having to finish it for the quick fix of whatever is in it. Then at the end feeling unfulfilled and wondering why you bothered in the first place.
But, back on topic, I know a lot of artists use symbols and references in their work to add to it but if the viewer is unaware of them, does it make the appreciation of the image any less?
The Da Vinci Code was a ripping yarn; I am not ashamed to say I enjoyed it.
The reasonable expectations of honest men must be protected.
'Fiat justitia ruat caelum'
'Fiat justitia ruat caelum'
#20
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Posted 24 February 2009 - 05:36 PM
I think you can enjoy art on whatever terms you like really.
A piece has lots of stories to tell. It might be simply subject matter or might be how it runs parallel with what was happening in the artist's life.
Even how they were made. Most people looking at Michelangelo's David are thinking: "How the feck did he do that!"The experience doesn't have to be all pure "interpretation" in my view.
Interestingly people feel more at home with interpreting a film rather than a painting.
How many people here remember way back. All those long conversations about what was going on in The Draughtsman's Contract!
A piece has lots of stories to tell. It might be simply subject matter or might be how it runs parallel with what was happening in the artist's life.
Even how they were made. Most people looking at Michelangelo's David are thinking: "How the feck did he do that!"The experience doesn't have to be all pure "interpretation" in my view.
Interestingly people feel more at home with interpreting a film rather than a painting.
How many people here remember way back. All those long conversations about what was going on in The Draughtsman's Contract!
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