Hi everyone, I often read about edges. Lost edges, sharp edges, no edges etc etc. I would like to share my opinion for what concern Art and painting in general, based on what I know about photography and for what concern physiology and the modern neuroscience.
I am gonna reduce the field about photography and the human vision, cause this is what is my main interest now, regarding the use of this into the painting process. Maybe I will continue this into this post cause the argument is vast and I would like to share and have a discussion with someone interested.
For today. We have only one little area on focus looking at something, it corresponds to do the fovea (a small retinal region with the highest concentration of cones) and thanks to this region we have visual acuity and we can see details and colours. The rest of the retina, the biggest part compared in area, have rods and basically it's for light detection and contrast but practically blind in colour.
Now, coming to painting..we cannot see all the details in just one look, our eyes have to scan constantly an image and it's our visual cortex and the associative areas that reconstruct all these details into one big detailed image (but often mistakenly..but this is another topic..)
I thought about this, and I think what is frequently called in art like "making the eyes jumping" into a pleasing composition could be a consequence of this understructure. Knowing this can help to decodificate a photography into a painting. A photo is for definition with a fixed focus and we have to reconstruct a priori what could happen if we had observed the scene from life. Also this part regarding the anatomy of the retina explain partially why we have different reaction looking at a painting very detailed and another looking at a more "impressionistic" one, because in the first one we search for details, cause it's what we normally do in real life, in the second our brain is forced to grasp the whole image at once knowing staring at a specific point will not give more informations.
And so? So practically, in an all focused picture we look at something which is not "real" in the all day brain experience. We can use all these surplus of focused details at our advantages and put what we like the most in our painting and exclude the others, in this way we can recreate our artistic reality into one coherent picture. I will try to do this. There are a lot of other things and if someone is interested we can talk about it.