Bruno Postle's "Piranesi's Perspective Trick" explores how 18th-century Italian artist Giovanni Battista Piranesi created the illusion of vast, impossible spaces in his etchings. Piranesi achieved this not through complex mathematical perspective but by subtly shifting the vanishing points and manipulating the scale of elements within a scene. By strategically placing smaller figures and architectural details in the foreground against exaggeratedly large background elements, and by employing multiple, inconsistent vanishing points, Piranesi generated a sense of immense depth and disorienting grandeur that transcends traditional perspective rules. This artistic sleight-of-hand contributes to the dreamlike and often unsettling atmosphere of his famous "Carceri" (Prisons) series and other works.
Michalina Janoszanka was a Polish folk artist active in the early 20th century, known for her distinctive reverse glass paintings. Primarily depicting religious iconography, idyllic landscapes, and floral still lifes, her works are characterized by vibrant colors and bold, flattened forms. She employed a naive, almost childlike aesthetic, creating endearing images filled with detailed patterns and embellishments. Working directly on the underside of glass panes, Janoszanka built her compositions layer by layer, resulting in a unique textural quality and a luminous depth characteristic of the reverse glass painting technique. Despite limited biographical information, her surviving works offer a glimpse into a rich artistic vision born from folk traditions.
HN commenters were fascinated by Janoszanka's reverse glass paintings, praising their vibrant colors and intricate detail. Several discussed the technical challenges of this art form, working "blind" and building up layers in reverse. Some speculated on the paints and techniques used, and others shared links to similar reverse glass art or contemporary artists employing the method. A few commenters drew comparisons to religious iconography and folk art traditions, while others appreciated the "dreamlike" and "surreal" quality of the images. The accessibility of the art also resonated, with some noting its appeal to both sophisticated art enthusiasts and those simply drawn to its beauty.
"The Maverick's Museum," reviewed in the Wall Street Journal, tells the captivating, if sometimes frustrating, story of Albert Barnes and his unique art collection. Author Henrietta McBurney paints a portrait of a complicated man, driven by both egalitarian ideals and a fiercely independent spirit, which led to both the groundbreaking educational program at his Barnes Foundation and his infamous battles against the Philadelphia art establishment. The book delves into Barnes' unconventional methods, from his focus on aesthetic experience over artistic pedigree to his embrace of African sculpture and Pennsylvania German furniture alongside masterpieces by Renoir and Cézanne. While acknowledging Barnes' flaws and dictatorial tendencies, McBurney ultimately celebrates his visionary approach to collecting and his enduring legacy.
Hacker News users discuss the eccentric Albert Barnes, his unique art collection, and the book reviewing his life. Several commenters express interest in seeing the Barnes Foundation, noting its unusual hanging style and Barnes's specific viewing instructions. Some discuss the tension between preserving an artist's vision and making art accessible to a wider audience, questioning whether Barnes's rigid approach was ultimately beneficial. The debate touches upon the democratization of art and the role of institutions in shaping public access. Others share anecdotes or further information about Barnes, revealing his complex personality and the legal battles surrounding his collection. The overall sentiment seems to be one of intrigue and a desire to learn more about Barnes and his unconventional approach to art collecting.
Danish painter Vilhelm Hammershøi (1864-1916) mastered a distinctive style characterized by muted greys, quiet interiors, and a pervasive sense of stillness and solitude. He often depicted the sparsely furnished rooms of his Copenhagen apartments, focusing on architectural details and the play of light and shadow. While figures occasionally appear, often with their backs turned or faces obscured, they primarily serve to enhance the atmosphere of introspective contemplation and mystery that permeates his work. Hammershøi's paintings evoke a sense of timelessness and invite viewers to reflect on the beauty found in simplicity and the enigmatic nature of everyday life.
Hacker News users discuss Hammershøi's evocative use of light and shadow, with several noting the profound sense of stillness and quietude his paintings create. Some commenters draw parallels between his work and the photography of Gregory Crewdson, citing similar themes of introspection and isolation. Others praise the article's writing style and the author's clear passion for the subject. The artist's limited color palette also sparks discussion, with some speculating on its psychological impact and others simply appreciating its aesthetic beauty. A few users mention the challenges of accurately representing Hammershøi's subtle greys in digital reproductions.
Researchers believe they may have discovered a network of tunnels beneath Milan's Sforza Castle, potentially matching sketches made by Leonardo da Vinci during his time as a court engineer there in the late 15th century. Using ground-penetrating radar and archive research, the team identified several underground passages and chambers consistent with da Vinci's drawings, suggesting he may have played a larger role in the castle's design and construction than previously thought. Further investigation is needed to confirm the tunnels' connection to da Vinci, but the discovery offers a tantalizing glimpse into the artist's diverse talents and the castle's complex history.
Hacker News users discuss the discovery of tunnels potentially matching Leonardo da Vinci's sketches, expressing skepticism about the novelty. Several commenters point out that the tunnels have been known for a long time, even suggesting they've personally toured them. Some doubt da Vinci's direct involvement, proposing the tunnels pre-dated him and were simply documented in his drawings. Others question the CNN article's framing, suggesting it oversells a relatively mundane finding for clicks. A few users offer alternative theories about the tunnels' purpose, including water management or escape routes. Overall, the prevailing sentiment is one of mild disappointment, with commenters finding the "discovery" less exciting than the headline implies.
A richly decorated room, likely a triclinium or dining area used for banquets, has been unearthed at Pompeii. The frescoes adorning the walls depict scenes related to the Dionysian mysteries, including the initiation rites and a vibrant Dionysiac procession. Archaeologists believe the room, located in a domus (house) under excavation since 2018, provides valuable insights into the religious practices and social life of the city's inhabitants before the eruption of Vesuvius. The detailed frescoes, featuring figures like Dionysus, satyrs, maenads, and Pan, are remarkably well-preserved and offer a unique glimpse into this ancient cult.
Hacker News users discussed the exciting discovery of a fresco depicting Dionysian mysteries at Pompeii, expressing particular interest in the high level of preservation and vibrant colors. Some commenters speculated about the room's purpose, suggesting it may have been used for initiation rites or other cultic activities related to the Dionysian mysteries. Others focused on the historical context, drawing parallels to other archaeological finds and discussing the significance of Dionysus in Roman culture. Several users expressed a desire to visit the site and see the fresco in person. There was also some lighthearted discussion of the potential for hallucinogenic substances to have been involved in the rituals depicted.
Socmus.com is a virtual museum showcasing Bulgarian graphic design from the socialist era (1944-1989). The website features a diverse collection of digitized posters, packaging, logos, and other design artifacts, offering a glimpse into the visual culture of this period. It explores various themes, including political propaganda, cultural events, consumer goods, and everyday life, highlighting the unique aesthetic and ideological influences on Bulgarian design during this time. The museum aims to preserve and share this rich heritage, offering a searchable database and detailed information about the designers and historical context of the works.
HN users generally expressed appreciation for the virtual museum of Bulgarian socialist-era graphic design, finding the aesthetic interesting and historically valuable. Some highlighted the bold colors, geometric shapes, and optimistic themes prevalent in the designs, contrasting them with Western advertising of the same period. Others pointed out the propaganda aspects inherent in the work, while still acknowledging the artistic merit. Several commenters shared personal connections to the era and region, offering additional context and reminiscences. A few users also expressed interest in similar archives for other Eastern European countries during the socialist period. There was a brief discussion about the technical aspects of the website itself, with one user suggesting improvements to the search functionality.
Jacksonpollock.org is a website that simulates the drip painting technique of Jackson Pollock. Users can virtually "splatter" paint onto a canvas by moving their mouse or finger, creating unique abstract compositions. The website also allows adjustments to paint color, splatter size, and background color. It offers a simple, interactive way to explore and experience the creative process reminiscent of Pollock's action painting style.
HN users were largely unimpressed with jacksonpollock.org, finding it a shallow imitation of Pollock's work. Several pointed out the simplistic, repetitive nature of the algorithm, noting that it lacked the nuance and complexity of the real paintings. The predictability of the generated patterns was criticized, with one commenter describing it as "just a bunch of squiggles." Others dismissed it as a basic screensaver, and some questioned its artistic merit altogether. While acknowledging the site's age (2003), most commenters felt it hadn't aged well and didn't offer a compelling artistic or technical experience. A few commenters, however, appreciated it as a simple, if dated, example of generative art.
The Dolní Věstonice portrait head, unearthed in the Czech Republic, is potentially the oldest known portrait of a specific individual, dating back 26,000-29,000 years to the Gravettian period. Made of fired clay, it depicts a woman with a narrow face, heavy-lidded eyes, and a possible facial asymmetry, perhaps reflecting a real individual's features. While some debate its status as a true portrait, its detailed rendering of a unique face, along with its discovery among mammoth bone caches and other artifacts in a complex settlement, makes it a remarkable piece of Paleolithic art, providing a glimpse into the artistic and social complexities of early humans.
Hacker News users discussed the potential significance of the Dolní Vĕstonice Venus head, questioning whether it truly represents a portrait or if its stylized features suggest a more symbolic representation. Some commenters pointed to the difficulty of definitively interpreting artifacts from such a distant past, emphasizing the limited information available about the culture and beliefs of the creators. Others debated the definition of "portrait," with some arguing it requires intent to depict a specific individual, while others suggested a broader interpretation encompassing generalized representations of human likeness. The possibility that the piece might be a forgery was also briefly mentioned, but dismissed by several users citing its established provenance and past research. Several commenters also expressed fascination with the artifact and its potential insights into early human artistic expression.
The Alexander Mosaic, depicting the Battle of Issus, incorporates a variety of geological materials sourced across the Hellenistic world. Researchers analyzed the mosaic's tesserae, identifying stones like Egyptian and other marbles, various limestones, volcanic glass, and rocks containing specific minerals like serpentine and magnetite. This diverse geological palette reveals ancient trade networks and access to a wide range of stone resources, highlighting the logistical complexity and artistic ambition behind the mosaic's creation. The study demonstrates how geological analysis can shed light on ancient art, providing insights into material sourcing, craftsmanship, and cultural exchange.
Hacker News users discuss the difficulty in comprehending the vastness of geological time, with one suggesting a visualization tool that maps durations to physical distances. Commenters also explore the relationship between art and deep time, sparked by the mosaic's depiction of Alexander the Great, a figure whose historical timeframe is itself dwarfed by geological scales. Some highlight the challenge of accurately representing scientific concepts for a general audience while others express fascination with the mosaic itself and its historical context. A few commenters point out the article's focus on the stone's provenance rather than the mosaic's artistry, acknowledging the surprising geological journey of the materials used in its creation.
Psychedelic graphics, inspired by the altered perceptions induced by psychedelic substances, aim to visually represent the subjective experience of these altered states. Characterized by vibrant, contrasting colors, intricate patterns like fractals and paisley, and often morphing or flowing forms, these visuals evoke feelings of otherworldliness, heightened sensory awareness, and interconnectedness. The style frequently draws upon Art Nouveau, Op Art, and surrealism, while also incorporating spiritual and mystical symbolism, reflecting the introspective and transformative nature of the psychedelic experience.
Hacker News users discuss Ben Pence's blog post about psychedelic graphics, focusing on the technical aspects of creating these visuals. Several commenters delve into the history and evolution of these techniques, mentioning early demoscene graphics and the influence of LSD aesthetics. Some discuss the mathematical underpinnings, referencing fractals, strange attractors, and the role of feedback loops in generating complex patterns. Others share personal experiences with psychedelic visuals, both drug-induced and otherwise, and how they relate to the graphics discussed. The connection between these visuals and underlying neurological processes is also explored, with some commenters proposing that the patterns reflect inherent structures in the brain. A few commenters express interest in modern tools and techniques for creating such effects, including shaders and GPU programming.
Researchers are analyzing a 2,100-year-old mosaic depicting Alexander the Great's victory at Issus, aiming to restore it. Using non-invasive techniques like multispectral imaging and X-ray fluorescence spectrometry, they're studying the mosaic's materials and deterioration processes. This information will guide the restoration, preserving the artwork and potentially revealing hidden details lost to time and damage. The mosaic, originally part of the House of the Faun in Pompeii, is a significant example of Hellenistic art and provides valuable insights into ancient craftsmanship and cultural exchange.
HN users discuss the challenges and complexities of restoring the Issus mosaic, praising the researchers' efforts in analyzing the tesserae's material composition and degradation. Several commenters express fascination with the mosaic's age and historical significance, while others focus on the technical aspects of the restoration process, including the use of non-invasive techniques and the debate between recreating the original versus preserving the current state. Some also note the difficulty in determining the original colors and arrangement, given the mosaic's extensive damage and past restoration attempts. The ethical considerations of restoration are also touched upon, questioning how much intervention is appropriate. A few commenters express skepticism about the article's claim that the mosaic depicts the Battle of Issus, suggesting alternative interpretations.
The Vatican's website offers a free, immersive digital experience of St. Peter's Basilica. Users can explore high-resolution 360° panoramic views of both the Basilica's interior and exterior, including spaces not typically accessible to the public. This virtual tour allows detailed examination of the art, architecture, and religious significance of the Basilica, providing a rich and engaging experience for anyone interested in experiencing this iconic landmark from anywhere in the world.
HN commenters generally found the Vatican's digital twin of St. Peter's Basilica underwhelming. Several criticized the low resolution and poor quality of the 3D model, especially given the readily available high-resolution scans and photographic data. Others noted the lack of interactivity and limited navigation, comparing it unfavorably to other virtual museum experiences. Some suggested the project seemed rushed and poorly executed, speculating about potential internal politics or technical limitations at play. A few commenters expressed interest in a higher-fidelity version, but the prevailing sentiment was disappointment with the current offering.
Summary of Comments ( 68 )
https://news.ycombinator.com/item?id=43492562
Commenters on Hacker News largely discussed the plausibility and effectiveness of Piranesi's supposed perspective trick, as described in the Medium article. Some debated whether the "trick" was intentional or simply a result of his artistic style and the limitations of etching. One commenter suggested Piranesi's unique perspective contributes to the unsettling and dreamlike atmosphere of his works, rather than being a deliberate deception. Others pointed out that the described "trick" is a common technique in perspective drawing, particularly in stage design, to exaggerate depth and create a sense of grandeur. Several commenters also shared links to other analyses of Piranesi's work and the mathematics of perspective. A few expressed appreciation for the article introducing them to Piranesi's art.
The Hacker News post titled "Piranesi's Perspective Trick (2019)" has several comments discussing the article about how Piranesi created his impossible architectural drawings. Many commenters focus on the intentional ambiguity and dreamlike quality of Piranesi's work.
One commenter highlights the role of capriccio, a genre of art emphasizing fantasy and imagination, in understanding Piranesi's work. They suggest Piranesi wasn't necessarily trying to depict realistically possible structures, but rather exploring imaginative architectural spaces. This resonates with another commenter who notes Piranesi's influence on fantasy and science fiction, suggesting his work evokes a sense of awe and wonder at impossible structures, rather than a strict adherence to architectural realism.
Another commenter draws a parallel between Piranesi's work and M.C. Escher's, pointing out the shared interest in manipulating perspective and creating illusions. They propose both artists explore the boundaries of what is visually conceivable, even if physically impossible.
A significant point of discussion centers around the actual "trick" Piranesi employed. While the article suggests a specific method, some commenters propose alternative techniques Piranesi might have used. One commenter, for instance, suggests the use of multiple vanishing points, a technique common in pre-Renaissance art, might have contributed to the disorienting and expansive feel of his etchings. Another commenter speculates about the use of distorted grids and manipulated perspective lines, emphasizing the deliberate nature of the illusions Piranesi created.
Further comments discuss the potential influence of stage design on Piranesi's work. The commenter posits that techniques used to create the illusion of depth and grandeur on a stage could have informed Piranesi's approach to depicting architecture.
Overall, the comments reflect a fascination with the technical skill and artistic vision behind Piranesi's work. The discussion explores not only the "trick" itself, but also the broader context of capriccio, the influence on later artists like Escher, and the various techniques that might have contributed to Piranesi's unique and enduring style. They emphasize the deliberate artistic choices Piranesi made to evoke a sense of wonder and explore the boundaries of architectural representation.