By William Warmack
A sly, virtuoso send-up of paintings, artists, cat-lovers, and critics, this visually lovely full-color paintings catalog dares to invite the query: Did Mittens Mondrian, Whitey Warhol, and Cuddles Christo really create those works? purely the writer and his cat be aware of needless to say, and they're now not talking!
A lovable coffee-table ebook of art that imitates recognized artists', purely with a cat subject matter.
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Extra info for Composition with Cat: Lost Masterpieces of the Twentieth Century
Their location in peripheral vision being nullified in this way, they are as close to Jesus and Peter as are the Apostles, at the same time that they are placed at the distance where linear perspective has put them. Thus, the Church, the mid-distance events and the end figures are quite near to viewers. This nearness stands along side of their distant or peripheral locations. The outcome of this nearness is that viewers have a second location with respect to the painting. More importantly, this second location is a second kind of location.
30 ii. Non-Linear Nearness and Its Impact on Imagining Community There are, however, three other things going on in the painting whose effect is the opposite. With respect to these features, viewers are not detached from the scene, and the meaning of the event is not separated from the spatial event. First, in addition to being located thirty-three meters away, the church is located very near indeed to both Jesus and the viewer. This “very near” cannot be measured in meters; rather, it is a distance for which the fact that one end of the distance is occupied by a conscious subject is relevant, which cannot be said in the case of the thirty-three meters of Newtonian space.
Against both of these comments, it can be noted that the Limbourgs had plenty of perspectival and scalar abilities when they wanted to use them. The difference is not that Renaissance painters discovered how to use perspective to depict space realistically while the medieval artists could not, but rather that the late medieval artists chose to use multiple viewpoints—they used more, not less perspective! 18 And still further, viewers can feel a precipitous change in the nature of participation and transcendence in the paintings for November and December, which were done by later artists, and this change seems to be related to the fact that in these paintings those aspects of the Limbourg style that have been brought forward above are least in sight.