DRAWING LIFE by fred hatt

2014/01/17

A Show of Hands

 

Study of Hands, c. 1474, by Leonardo da Vinci

Study of Hands, c. 1474, by Leonardo da Vinci

You may hear it said that artists hate to draw hands, and I don’t think there is any part of the human body that is more challenging to draw well than the hands. Of course for that very reason artists who relish a challenge love to draw hands. In the drawing classes I supervise, I have often noted that beginning artists tend to draw hands (and feet) too small, while the most accomplished artists often draw hands disproportionately large.

Hands are complicated structures capable of an incredible range of pose and expression. The fingers are the most sensitive as well as the most dextrous part of the body – paragons of both feeling and action. To watch the fingers of a great pianist, guitarist, or violinist, to see the expression that a master actor or painter or dancer conveys through the hands and fingers, is to experience the most profound grace the human being can embody.

Let’s look at images of hands in works of painting, sculpture, cinema and photography. Throughout this post click on the photos to go to the websites where I found them, and click on the titles of works in the commentary to see full versions where I show details, or to find more information about the works pictured.

Lady with an Ermine (detail), 1490, by Leonardo da Vinci

Leonardo’s hand of a Lady with an Ermine almost makes you feel the sleek fur and impulsive muscularity of the animal she strokes.

Madonna del Magnificat (detail), 1481, by Sandro Botticelli

Madonna del Magnificat (detail), 1481, by Sandro Botticelli

Botticelli’s Madonna of the Magnificat invokes the holy with beatific faces and delicate hands, portraying the Virgin as scribe.

David (detail), 1504, by Michelangelo Buonarroti

David (detail), 1504, by Michelangelo Buonarroti

Michelangelo’s David has enormous hands with incredible detail of veins and sinews, an image of power in repose.

Study of Hands, 1506, by AlbrechtDürer

Study of Hands, 1506, by Albrecht Dürer

The way Michelangelo carved with a chisel, Dürer carved with black and white line on toned paper.

The Fortune Teller (detail), c. 1594, by Michelangelo Caravaggio

The Fortune Teller (detail), c. 1594, by Michelangelo Caravaggio

Caravaggio’s Fortune Teller, like all of his work, is so vivid you feel the characters are alive before you. The hands are as strikingly present as the faces. Look at the palm-reader’s seductive grasp and stroke.

Hamsa amulet, artist unknown

Hamsa amulet, artist unknown

The Hamsa is a hand-shaped amulet for protection against the evil eye, commonly found in many variants throughout the Middle East and North Africa. The symbol has been around since before the era of monotheistic religions, but it survives in Judaism as the Hand of Miriam, in Christianity as the Hand of Mary, and in Islam as the Hand of Fatima. “Hamsa” means five in Arabic, and it represents five fingers, but it is usually abstracted to be symmetrical, so it appears as a hand with three fingers and two thumbs. As a symbol surviving from antiquity and remaining popular today, it shows the persistence of the idea of the hand representing spiritual power and blessing. (Indeed images of hands are among the earliest surviving human artistic representations.)

Tian Tan Buddha of Po Lin Monastery, Hong Kong, 1993, designed by  Hou Jinhui

Tian Tan Buddha of Po Lin Monastery, Hong Kong, 1993, designed by
Hou Jinhui

In Hinduism and Buddhism, symbolic hand positions called “mudras” are an important aspect of both ritual practice and the iconography of sacred art. There are hundreds of defined mudras, different lists of them for different traditions and disciplines. The gesture of the Buddha figure above is the Abhaya Mudra, the fear-dispelling gesture.

Dance mudras, date and photographer unknown

Dance mudras, date and photographer unknown

Classical Indian dance forms such as Bharata Natyam have their own collections of mudras, essentially a form of sign language for telling a story in dance. (Some dance mudras are demonstrated in the set of photos above.)

Hands of Buddha at Stupa of Dharmakaya, photo by lestermore

Hands of Buddha at Stupa of Dharmakaya, photo by lestermore

Buddha figures also have a whole set of prescribed mudras that represent things like charity, understanding, and asceticism. The right hand of the buddha above is making the sign of debate or discussion.

Mudra sculpture in New Delhi Airport (detail), designed by Ayush Kasliwal

Mudra sculpture in New Delhi Airport (detail), designed by Ayush Kasliwal

The Airport in New Delhi features a public sculpture depicting a variety of traditional mudras. The one shown above is called prana mudra by yogis. In yoga, mudras are like asanas (yoga poses) for the hands. This one is performed to promote the flow of vital energy throughout one’s body.

Christ Giving His Blessing, 1481, by Hans Memling

Christ Giving His Blessing, 1481, by Hans Memling

Mudras are not exclusive to the religions of Southern and Eastern Asia. Christ is frequently depicted giving a gesture of benediction very similar to the hand positions seen in Hindu or Buddhist figures.

Christ as Savior, c. 1614, by El Greco

Christ as Savior, c. 1614, by El Greco

One explanation of this gesture is that the three upraised fingers represent the Trinity, while the two lowered fingers represent the dual nature of Christ as man and God. (Eastern Orthodox representations of Christ feature a different hand position.)

The Creation of Adam (detail), 1512, by Michelangelo Buonarroti

The Creation of Adam (detail), 1512, by Michelangelo Buonarroti

Hands are potent and adaptable symbols in sacred art. Michelangelo’s Creation of Adam shows the vigorous hand of God transmitting the life force to the weaker hand of Adam.

Isenheim Altarpiece (detail), 1516, by Matthias Grünewald

Isenheim Altarpiece (detail), 1516, by Matthias Grünewald

Grünewald’s Isenheim Altarpiece features on one panel the tortured hands of the crucifixion, and on another the raised palms of the luminous Christ rising from the grave.

Study of the Hands of God the Father, 1508, by Albrecht Dürer

Study of the Hands of God the Father, 1508, by Albrecht Dürer

The exquisite drawing above is a preparatory sketch for the Heller Altarpiece, another great hinged triptych painting. The left hand holds the orb of the world, and the right hand crowns the Virgin.

Baton Gestures, illustration by Priscilla Barrett from "Manwatching", 1977, by Desmond Morris

Baton Gestures, illustration by Priscilla Barrett from “Manwatching”, 1977, by Desmond Morris

Let’s get a little more secular now. The illustration above is one of many great pictures in the pop anthropologist Desmond MorrisManwatching: A Field Guide to Human Behavior. It shows “baton signals”, gestures that “beat time to the rhythm of spoken thoughts.” Hand gestures can do as much to inflect human speech as can tone of voice.

George B. Bridgman, illustration from "The Book of a Hundred Hands", 1920

George B. Bridgman, illustration from “The Book of a Hundred Hands”, 1920

Bridgman‘s Book of a Hundred Hands is a whole collection of an artist’s acute observations about hands, presented in both words and sketches. This is the kind of book that can help one learn how to notice things.

Burne Hogarth, illustration from "Drawing Dynamic Hands", 1977

Burne Hogarth, illustration from “Drawing Dynamic Hands”, 1977

Burne Hogarth had a way of expressing the power of motion through a detailed understanding of anatomy.

Burne Hogarth, illustration from "Drawing Dynamic Hands", 1977

Burne Hogarth, illustration from “Drawing Dynamic Hands”, 1977

Hogarth may be best known for transforming the style of superhero comics. His anatomy books are among the best for artists because they depict anatomical structures not in the inert diagrams of typical textbooks, but in vigorous action.

Two Hands, 1885, by Vincent van Gogh

Two Hands, 1885, by Vincent van Gogh

The impressionist and post-impressionist artists tried to show that everyday realities, like these rough peasant hands, can be as full of wonder and beauty as anything holy or heroic.

Baby's First Caress, 1891, by Mary Cassatt

Baby’s First Caress, 1891, by Mary Cassatt

The discovery of touch between a mother and child is surely as powerful a human experience as there is. Lots of artists are good at depicting mystery or vehemence, but it takes rare sensitivity to portray such a subtle moment as Cassatt does in this picture. Look at how the child’s touch to the mother’s face is returned as she holds one of the child’s hands and one of his feet in her hands.

Self Portrait with Hands on Chest, 1910, by Egon Schiele

Self Portrait with Hands on Chest, 1910, by Egon Schiele

Schiele shows the exciting narcissism of youth in his pout, his cockscomb hair, and his dramatic fingers.

Hand with Reflecting Sphere, 1935, by M. C. Escher

Hand with Reflecting Sphere, 1935, by M. C. Escher

This Escher print perfectly distills the unity of hand, eye, and playful mathematical mind that this artist cultivated through all his work.

All Power to the People, poster, late 1960's, artist unknown

All Power to the People, Black Panthers poster, late 1960’s, artist unknown

The fist is the ultimate expression of defiance and determination.

Portrait of Aubrey Beardsley, 1894, photo by Frederick Henry Evans

Portrait of Aubrey Beardsley, 1894, photo by Frederick Henry Evans

Let’s look at some photographic explorations of hands. An artist’s essence is as much in his hands as in his face. Don’t Aubrey Beardsley‘s long, long fingers look like the only fingers that could have produced his efflorescence of flamboyance in black and white?

Georgia O'Keefe, Hands, 1918, photo by Alfred Steiglitz

Georgia O’Keefe, Hands, 1918, photo by Alfred Steiglitz

And here is Georgia O’Keefe, austere and sensuous at the same time.

Profile and Hands, 1932, photo by Man Ray

Profile and Hands, 1932, photo by Man Ray

Man Ray‘s abstracting eye glamorizes the tactile.

Nancy, Danville, Virginia, 1969, photo by Emmet Gowin

Nancy, Danville, Virginia, 1969, photo by Emmet Gowin

Emmet Gowin sees the mystery in the everyday, the family, the land.

Hands on the Beach, 1959, photo by Bill Brandt

Hands on the Beach, 1959, photo by Bill Brandt

For Bill Brandt, the body is monumental, towering.

Interlocking Fingers No. 6,  1999, photo by John Coplans

Interlocking Fingers No. 6, 1999, photo by John Coplans

John Coplans‘ sole subject is his own aging body, seen with the sharp eye a naturalist might direct on some taxonomic oddity of nature.

Still from "Nosferatu, eine Symphonie des Grauens", 1922 film directed by F. W. Murnau

Still from “Nosferatu, eine Symphonie des Grauens”, 1922 film directed by F. W. Murnau, with Max Schreck

The cinema may be the perfect art form to explore the image of the hand. Nosferatu‘s vampire has rodent teeth, a rigid posture, and the talons of a raptor.

Still from "The Hands of Orlac", 1924 film directed by Robert Wiene

Still from “The Hands of Orlac”, 1924 film directed by Robert Wiene, with Conrad Veidt

In The Hands of Orlac, a pianist receives a transplant – the hands of a murderer.

Still from "Night of the Hunter", 1955 film directed by Charles Laughton, with Robert Mitchum

Still from “Night of the Hunter”, 1955 film directed by Charles Laughton, with Robert Mitchum

In the magical realist classic Night of the Hunter, Robert Mitchum plays a homicidal preacher with LOVE and HATE tattooed on his knuckles.

I’ll conclude this post with a selection of works by Auguste Rodin, an artist who grasped all the expressive possibilities of the human hand, and explored in his work many of the themes we’ve seen in the work of other artists above.

Clenched Hand, 1885, by Auguste Rodin

Clenched Hand, 1885, by Auguste Rodin

Could a face express such anguish? Compare this hand with those in Grünewald’s crucifixion, or with Burne Hogarth’s contorted hands.

The Burghers of Calais (detail), 1889, by Auguste Rodin

The Burghers of Calais (detail: Pierre de Wissant), 1889, by Auguste Rodin

This hand and the face combine to show us the mournful resignation of a man accepting his own death. (This is a detail from the multi-figure “Burghers of Calais“. The story it tells is explained at the link.)

The Hand of God, 1896, by Auguste Rodin

The Hand of God, 1896, by Auguste Rodin

Here Rodin shows us the hand of God as the hand of an artist like himself, modeling living figures out of clay. The position of this hand is very similar to that of the figure just above it,

Cathedral, 1908, by Auguste Rodin

Cathedral, 1908, by Auguste Rodin

Both this work and the next are composed of two right hands. A left and a right hand coming together are the prayer of one. Two rights shows the encounter of two individuals. The “Cathedral” is the potent egg-like space that is created in between the hands of two people who join to dance together.

Hands of Lovers, 1904, by Auguste Rodin

Hands of Lovers, 1904, by Auguste Rodin

There is profound power in this gentle contact. These hands are not grasping, clinging, or controlling. Each hand remains a free individual, with all its senses tuned to the mystery of touching the other.

If you know anything of the story of Rodin and his muse, protegée and fellow sculptor Camille Claudel, you may doubt whether Rodin ever achieved such sensitivity in his own life. But even if he did not, for me, he manages to express it in these moving sculptures.

Below, Rodin’s assemblage of a life-cast of Claudel’s sad and delicate head with a cast of the oversized hand of a figure from the “Burghers of Calais”, four images up.

Assemblage: Mask of Camille Claudel and Left Hand of Pierre de Wissant, 1895, by Auguste Rodin

Assemblage: Mask of Camille Claudel and Left Hand of Pierre de Wissant, 1895, by Auguste Rodin

For the artist, the hand is the extension of the mind. Eyes and thoughts reach out like fingers, touching the world, exploring it, shaping it.

2013/02/24

Motion in Stills

Dynamism of a Dog on a Leash, 1912, by Giacomo Balla

Dynamism of a Dog on a Leash, 1912, by Giacomo Balla

Isn’t this a wonderful evocation of the movement of an excited dachshund out for a walk? You can just feel the undulations of the leash and the wagging of the tail, and you can almost hear the clicking of the dog’s toenails on the sidewalk. A camera might capture this scene by freezing an instant. This would give us more surface detail, but none of the jaunty spirit that Balla shares with us here.

In this post I present a variety of modern approaches to capturing movement in the still media of drawing and painting, sculpture, and photography. If you’d like a more systematic approach to the topic, I recommend this excellent overview by James E. Cutting. I have had a longstanding interest in depicting the spirit of movement, especially human movement, through drawing, and my selection here reflects that.

Classical art tends to imply the energy and movement of characters by putting them in poses of dynamic tension, or by depicting the flow of hair or drapery to suggest motion – some great sculptural examples are examined in the earlier post “Stories in the Round”.

Many of the prints in Hokusai’s series of “manga” (sketchbooks) are sharply observed pictures of human movement, sometimes shown in series of little drawings that look very much like the work of an animator.  Surely Hokusai would have made animations if the concept had existed in his time!

Yakko-Odori, c. 1814, by Katsushika Hokusai

Yakko-Odori, c. 1814, by Katsushika Hokusai 

The sculptor Auguste Rodin discusses how he endeavors to endow his works with movement, from the book Rodin on Art and Artists.

Note, first, that movement is the transition from one attitude to another. . . You have certainly read in Ovid how Daphne was transformed into a bay-tree and Procne into a swallow. This charming writer shows us the body of the one taking on its covering of leaves and bark and the members of the other clothing themselves in feathers, so that in each of them one still sees the woman which will cease to be and the tree or bird which she will become. . . It is, in short, a metamorphosis of this kind that the painter or the sculptor effects in giving movement to his personages.  He represents the transition from one pose to another. . . while my Saint John is represented with both feet on the ground, it is probable that an instantaneous photograph from a model making the same movement would show the back foot already raised and carried toward the other. . . this model photographed would present the odd appearance of a man suddenly stricken with paralysis and petrified in his pose. . . If, in fact, in instantaneous photographs, the figures, though taken while moving, seem suddenly fixed in mid-air, it is because , all parts of the body being reproduced exactly at the same twentieth or fortieth of a second, there is no progressive development of movement as there is in art. . . It is the artist who is truthful and it is photography which lies, for in reality time does not stop, and if the artist succeeds in producing the impression of a movement which takes several moments for accomplishment, his work is certainly much less conventional than the scientific image, where time is abruptly suspended.

St. John the Baptist Preaching, 1878, by Auguste Rodin

St. John the Baptist Preaching, 1878, by Auguste Rodin

Rodin is defending the traditional artistic approach of depicting moments against the new, photographically influenced, way of seeing time as a series of instants. Though he aligns himself with the classicists in this, Rodin was more interested in movement than the more academic artists.  He did countless quick sketches, both in clay and in pencil and watercolor, observing figures in motion and capturing the quality of their aliveness with a remarkably free hand.

Psyche, c. 1900, by Auguste Rodin

Psyche, c. 1900, by Auguste Rodin 

The “instantaneous photography” Rodin mentions was a new development in the late 19th Century.  It enabled the analysis of movement too quick for the human eye, much less the drawing hand, to capture. In the 1880’s, Marey in France and Muybridge in California developed technologies for photographing movement in sequences of still photographs. Muybridge’s work was bankrolled by former California Governor Leland Stanford to settle a bet he had going about whether all four legs of a running horse were off the ground simultaneously at some point in the gallop (they are). This was something that could not be determined by naked eye observation. Muybridge went on to photograph analytical movement sequences of many animals and human models performing all kinds of actions, and his pictures are still studied by artists, animators, and anatomists.

Long Jump, 1887, from "Human and Animal Locomotion", photo by Eadweard Muybridge

Long Jump, 1887, from “Human and Animal Locomotion”, photo by Eadweard Muybridge

Where Muybridge’s method produced a series of discrete stills, Marey’s technique superimposed the phases of movement in a single image.

Flight of the Pelican, 1883, photo by Etienne-Jules Marey

Flight of the Pelican, 1883, photo by Etienne-Jules Marey

The photography of Muybridge and Marey is a kind of proto-cinema, and motion picture technology grew out of their work. This study of walking (below) using a black body suit with reflective lines and dots on it even seems to prefigure the “motion capture” techniques used today to transfer movement from live actors to digitally generated characters.

Geometric Chronophotograph of the Man in the Black Suit, 1883, photo by Etienne-Jules Marey

Geometric Chronophotograph of the Man in the Black Suit, 1883, photo by Etienne-Jules Marey

From Marey’s photography Marcel Duchamp took this idea of superimposing temporal instants and combined it with a cubist fragmentation of form to produce his famous “Nude Descending a Staircase”, which caused a sensation – both of outrage and of inspiration – when it was exhibited at the Armory Show of 1913, the first major exhibition of European avant-garde art in America.

Nude Descending a Staircase, 1912, by Marcel Duchamp

Nude Descending a Staircase, 1912, by Marcel Duchamp

Boccioni attempted something similar in sculptural form, distorting the figure to emphasize its dynamism. Boccioni, who also painted, and Balla, whose trotting dachshund leads this post, were members of the Italian Futurist art movement, obsessed with speed and frenzy.

Unique Forms of Continuity in Space, 1913, by Umberto Boccioni

Unique Forms of Continuity in Space, 1913, by Umberto Boccioni

This is an excerpt from the Futurist Manifesto of 1909, by F. T. Marinetti:

  1. We want to sing the love of danger, the habit of energy and rashness.
  2. The essential elements of our poetry will be courage, audacity and revolt.
  3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.
  4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath … a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
  5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
Elasticity, 1912, by Umberto Boccioni

Elasticity, 1912, by Umberto Boccioni

The world was being transformed and unsettled by new technologies and new media, and all the conventions of art seemed to lose their power, opening up new worlds of creative possibility.  Among purely abstract painters, Kandinsky seemed to have a special ability to create compositions that felt like they contained leaping, vibrating life force.

Blue Segment, 1921, by Wassily Kandinsky

Blue Segment, 1921, by Wassily Kandinsky 

In the 1930’s, electrical engineer Harold “Doc” Edgerton and Life Magazine photographer Gjon Mili worked together to develop the photographic possibilities of electronic strobe lighting, which made it possible to slice time into increasingly brief instants.

Milk Coronet, 1957, by Harold Edgerton

Milk Coronet, 1957, photo by Harold Edgerton

Stroboscopic photography improved Marey’s sequential superimposition technique, capturing faster motion with ultra clarity.

Bobby Jones Multi Flash, 1938, by Harold Edgerton

Bobby Jones Multi Flash, 1938, photo by Harold Edgerton

These photographers saw themselves as following in the footsteps of Duchamp. Here are two stroboscopic photo homages to the avant-garde master, by Life Magazine photographers Gjon Mili and Eliot Elisofon.

Nude Descending  1942, by Gjon Mili

Nude Descending, 1942, photo by Gjon Mili

Duchamp Descending a Staircase, 1952, photo by Eliot Elisofon

Duchamp Descending a Staircase, 1952, photo by Eliot Elisofon

Strobes distilled the energy and grace of great performing artists into striking images for magazines, the great popular graphic art medium of the era. Below, the dancer and choreographer Martha Graham and the drummer Gene Krupa.

Martha Graham performing "Punch and Judy", 1941, photo by Gjon Mili

Martha Graham performing “Punch and Judy”, 1941, photo by Gjon Mili

Gene Krupa Playing a Drum, 1941, photo by Gjon Mili

Gene Krupa Playing a Drum, 1941, photo by Gjon Mili

Of course, the art of painting is also fundamentally a movement art, as demonstrated here by Picasso, drawing in the air with a penlight, captured by the photographer with a long exposure combined with three strobe flashes.

Picasso Drawing with Light, 1949, by Gjon Mili

Picasso Drawing with Light, 1949, by Gjon Mili

Asian calligraphy had always been taught as an art of expressive movement, but Jackson Pollock was one of the first Western artists to treat painting as a form of dance. Here’s a video clip of Pollock at work.

Jackson Pollock Painting in his Long Island Studio, 1950, photo by Hans Namuth

Jackson Pollock Painting in his Long Island Studio, 1949, photo by Hans Namuth 

Dancers also used drawing and painting to try to show what they feel kinesthetically and proprioceptually. Here’s a sketch by Nijinsky, the dancer of Debussy’s Afternoon of a Faun and the original choreographer of Stravinsky’s Rite of Spring.

Dancer, 1917, by Vaclav Nijinsky

Dancer, 1917, by Vaslav Nijinsky

Nijinsky’s painting looks remarkably similar to the analytical drawing below by choreographer Rudolf von Laban. Laban created a system for analyzing and describing bodily movement. Laban described qualities of movement using evocative verbs: Float and Punch, Glide and Slash, Dab and Wring, Flick and Press. Those words could just as easily describe the different kinds of strokes a painter or drawer makes.

Illustration from Sketches of the "Scales", 1920s (?), by Rudolf von Laban

Illustration from Sketches of the “Scales”, 1920s (?), by Rudolf von Laban

For an artist attempting to describe movement, it’s all about the flow of the hand, the rhythm and quality of the line.  The Charlotte Trowbridge sketch below is made in response to the dance of Martha Graham, seen here previously in one of Gjon Mili’s stroboscopic studies.

Martha Graham's "Letter to the World", 1940, by Charlotte Trowbridge

Martha Graham’s “Letter to the World”, 1940, by Charlotte Trowbridge 

This understanding of the expressive power of curved lines is essential in the art of cartoonists and animators.

Illustration from "Advanced Animation", 1947, by Preston Blair

Line of Action, illustration from “Advanced Animation”, 1947, by Preston Blair

Monkey Concepts 2 for “Kung Fu Panda”, 2008 film, artwork by Nicholas Marlet

Dance photographers also look for those distinctive contours.  Below are two pieces from Lois Greenfield, perhaps the most famous dance photographer of our time.  Greenfield uses strobe lighting (single, not multiple, flashes) to capture the peak moment of a movement, that instant at the top of a leap or the ultimate arc of a gesture.  She also frequently employs the movement of fabrics, hair, or, below, flour (?), frozen in an instant, to magnify physicality with pure physics.

Sham Mosher, 1995, photo by Lois Greenfield

Sham Mosher, 1995, photo by Lois Greenfield

Odara Jaeali-Nash/Philadanco, 2007, photo by Lois Greenfield

Odara Jaeali-Nash/Philadanco, 2007, photo by Lois Greenfield

Greenfield’s shots are always frozen, perfectly sharp.  Other dance photographers use longer exposures to show movement with motion blur.  The challenge with motion blur is to find just the right amount – too little just looks like a mistake, while too much makes the figure disappear.

Motion (one from a series), 2012, photo by Bill Wadman

Motion (one from a series), 2012, photo by Bill Wadman

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Motion (one from a series), 2012, photo by Bill Wadman

In the picture below, long exposure blurs are combined with strobe bursts to givc crisp renditions of the extremes of the sequence.

The Red Mistress, 2012, photo by Benjamin Von Wong

The Red Mistress, 2012, photo by Benjamin Von Wong 

So far we’ve seen movement expressed through blurs, stroboscopic multiple images, and expressive lines.  It can also be shown by distortion.  Look at the tire in the photo below.  It seems to lean forward with effort, while the spectators in the background lean in the opposite direction.  This is the effect of a slit shutter, a gap that moves across the frame, exposing parts of it sequentially.  In this image, the shutter exposes the bottom of the frame first and moves upward through a brief interval of time.  The racing car is moving as the shutter goes up, so the upper part of the wheel, which is exposed later, has moved further to the right than the lower part of the wheel that was exposed earlier.  The spectators bend to the left because the camera is panning to the right to try to keep up with the movement of the car, but it isn’t panning as fast as the car is moving.

Grand Prix of the Automobile Club of France, 1911, photo by Jacques Henri Lartigue

Grand Prix of the Automobile Club of France, 1911, photo by Jacques Henri Lartigue 

The “slit scan” shutter is the principle behind the “photo finish” camera.  Such a camera has a slit shutter centered on the finish line of a race.  As the racers approach the line, a photo is made with the shutter opening remaining stationary, while the film moves across in the same direction as the racers. This produces a photograph in which the horizontal dimension shows not space, but time.  Every vertical slice of this photo represents the same vertical slice of space – the finish line – but further to the right is earlier in time, and further to the left is later. The background looks like a streak because it is the same slice of space spread out right to left.  The runners appear distorted because different parts of their bodies are recorded at different times.

Harrison Dillard Winning the 100 Meter Dash at the Olympics, 1948, photo-finish photo

Harrison Dillard Winning the 100 Meter Dash at the Olympics, 1948, photo-finish photo

Some photographers have used slit-scan cameras of this kind to create artistic studies of movement.  If you stuck your hand in a scanner or photocopier and waved it as the scanner moved across, you’d be doing basically the same thing that’s happening in these photos.  The resultant image would show your fingers bending zigzag as the scanner moves laterally through time.

Priscilla Electric Lodge #47-1, 2007, photo by Jay Mark Johnson

Priscilla Electric Lodge #47-1, 2007, photo by Jay Mark Johnson

Temporal Form no. 11, c. 2006, photo by Ansen Seale

Temporal Form no. 11, c. 2006, photo by Ansen Seale

The below images are made by digitally combining “10,000 individual photographs of a dancer”.  I don’t know exactly what that means, but I presume the images are frames from an ultra-high-speed camera such as those used to produce those ultra slow motion videos of bursting water balloons and the like, and that these images are somehow digitally combined.  The result has the smoothness of the blur photographs combined with the sharpness of the stroboscopic images or the slit-scan images.

Nude #6, 2012, photo by Shinichi Maruyama

Nude #6, 2012, photo by Shinichi Maruyama

Nude #4, 2012, photo by Shinichi Maruyama

Nude #4, 2012, photo by Shinichi Maruyama 

The photographer Adam Fuss makes large scale photograms, images made by placing objects on top of film and exposing it directly to light, so that it records the shadow of the object. He uses water to transform the movement of the subject into ripples that show how its movement affects the space around it. It’s a beautiful way to show a snake, or a baby, not as a thing, but as a force in the energy field.

Untitled, 1998, photogram by Adam Fuss

Untitled, 1998, photogram by Adam Fuss

Invocation, 1992, photo by Adam Fuss

Invocation, 1992, photo by Adam Fuss

All the illustrations in this post were found on the web.  Clicking on the photos will take you to the pages where I found them, and often to larger versions, additional work by the same artists, or further information placing the works in historical context or explaining the techniques used.

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