Art as Imitation

Consider Adam and Eve, 1526 (Figure 20, p. 142), by Lucas Cranach I (1472–1553), and John Singer Sargent’s (1856–1925) portrait of Mrs Fiske Warren (Gretchen Osgood) and Her Daughter Rachel,
1903 (Figure 21, p. 145). There are appreciable differences between these two paintings in terms of subject, date, genre, origin, materials and meaning. Whereas Cranach attempts to convey the symbolism of a Biblical story (the Temptation of Adam), and Sargent seeks to capture the likeness of his sitter, both paintings work on the basis of resemblance – either the circumstances of an imagined event or the features of a particular individual.

The theory of imitation (or mimesis), situates art as a mirror to nature and the world around us. Within the history of Western painting, the principle of imitation was associated with the invention and widespread adoption of single point perspective, an innovation which, literally and symbolically, underlined the primacy of the artist’s viewpoint. This was a major breakthrough which assisted in ever more convincing illusions of depth and space on a flat surface. For example, a naturalistic painting, like Masaccio’s Holy Trinity, 1427–28, in Santa Maria Novella, Florence, became, in effect, a hole in the wall to another spatial dimension. This example was emblematic of attempts to capture the way things looked, or were believed to be. The success of an art work became, in large part, dependent on the extent and ease with which spectators were
seduced into suspending disbelief, forgetting that they were in fact looking at a flat, two-dimensional surface.


Artchive online
Art works are referenced throughout this book. Although many have been included as illustrations, the reader is encouraged to use the internet to view other works and artists referenced or discussed. One useful
source, in addition to the major gallery websites, is the Artchive website: http://artchive.com/ftp_site.htm
For example, select Masaccio from the list of artists, view the image list and select Trinity (1427–28) to view this work.