Golden Section & Fibonacci Series in art - Page 2

Michele Rushworth · 10-12-2002, 11:16 AM

I imagine this wholistic way of learning began (and maybe ended?) in the Renaissance -- hence the term Renaissance Man, used to describe someone who is learned in a wide range of fields.

This is why Leondardo da Vinci became who he was, I guess. He was as learned in the arts as he was in the sciences.

Too bad organized education doesn't still teach that way. I had a difficult time as a high school senior choosing whether to pursue a science major or an art major in college. It would have been nice to study both. (I chose art but for fun I have been known to read books on nuclear physics -- no kidding!)

Michele Rushworth · 10-12-2002, 12:20 PM

Cynthia, I'll be in Florida in February. We really should meet and talk about portraits and protons over coffee sometime!

Michele Rushworth · 10-12-2002, 01:39 PM

"Spontaneous brushwork after careful design." That's the best description of what I'd like to aim for in my work, too. Well put!

I suppose that's also what Sargent was doing when he would hold his brush motionless in the air for a very long time -- and then paint with great energy.

Jeanine Jackson · 10-10-2002, 11:51 AM

Thank you so much for posting this thread. I will be using the Fibonacci Spiral in my next oil painting, "Ralph!"

Jeanine Jackson · 10-12-2002, 01:26 PM

The art in science and the science in art is very interesting to me.

After a fine arts "major" in high school, I put my brushes on a shelf and obtained undergraduate degrees in Philosophy and General Science. It was during that time I developed a poetic love for science. "Differential Equations" was one of my electives, as I learned about the the universal language of mathematics and the sheer wonder of nature.

I went on to study medicine at the University of Florence, Italy. I did a number of years there leading toward Pediatric Cardiac Surgery. As my career progressed, I became progressivey more isolated and unhappy. I dropped out prior to taking the Hippocratic oath.

Feeling rather guilty about leaving med school after all those years of study, I attended a special exhibit of DaVinci notebooks (on loan from the National Gallery of London) at the Palazzo Vecchio in 1984. I really went to make my apologies to my idol, Leonardo.

A tour guide was telling a small group about Leonardo and his passion for both science and art. I listened in as she explained that he would frequently flip from one job to another - from engineering to scuplture, mathematics to painting - often to the dismay of his patrons who would be stuck with incomplete work!

I felt deeply and profoundly understood.

My teacher now, George Passantino, warns against over-analyzing. He likes to quote Sorolla who said something like "If I can't paint fast, I don't paint!"

Still, the underpinnings of beauty can be analyzed. I like to call my methodology "Alla prima dopo" which translates into "At first after" or, for me, "Spontaneous brushwork after careful design."

Thanks to you - the designers and members of this forum - I feel understood once again!

Mari DeRuntz · 06-17-2002, 10:48 PM

Thanks for the simplified explanation of how to apply the golden mean.

Mari DeRuntz · 10-11-2002, 11:34 PM

Hi Elizabeth,

You don't need a compass. Tie a string around your pencil, hold the other end steady, and you can scribe a circle. You're looking for the intersecting lines of the circles drawn, and this method will be quite accurate.

Mari DeRuntz · 10-12-2002, 12:47 AM

Movement can originate from any of the four corners of the canvas; in Western art, paintings generally read from left to right, just as we read a book.

There are two very interesting ways to look at the

Elizabeth Schott · 10-10-2002, 11:02 PM

This whole concept is awesome, especially when you look at all things pleasing applying these rules. Cynthia the site link http://library.thinkquest.org/27890/...=1&tqtime=1010
Is a wonderful tool for so many things, you are truly a wealth of knowledge.

Elizabeth Schott · 10-11-2002, 05:36 PM

I tried to apply this today. I did it two ways in my "value" sketch phase.

Karin's way, was easier, but the interest point was very low - funny it ended up being just about the perfect spot though.

By way of the site, I searched the house to find a compass but someone made off with my circle templates; after laboring, the size wasn't going to work. But wow, it is a different way of looking at things. I am surprised in my photography classes this wasn't taught since we spent so much time on Gestalt Psych.