Las Meninas
In a sense, the study had me thinking about perspective in that I was able to approach his explanation in two ways. The first perspective was intrigued by the idea of the mystery painter and the king and queen in the mirror. After all, if you were looking in a mirror and painting from that easel, it's impossible for your perspective to be that way because of how light reflects. Yet, the location of the painter is strange because it's hard for me to imagine where the artist would sit to allow himself to paint something in that perspective. Also, the king and the queen in the mirror was somewhat creepy, since they have a spooky presence in the painting due to the brightness of the mirror. The mirror is unnaturally bright, after all, considering the lighting of the room.
My second perspective was more skeptical, because I thought his explanation rested on three premises which aren't completely indisputable.
1. The easel in the painting is the easel being used, if it is an easel at all.
2. The painter is in the painting.
3. The king and queen are being reflected in a mirror.
This perspective of mine took a more Occam's Razor's approach. To me, it's easier to say that the the easel isn't really an easel and the painter is located outside of the painting. The mirror was still somewhat creepy though, since the only explanation is that it's a bright painting or a window, but that seemed like a stretch.
The first perspective of mine took figuring out the painting as a challenge. The second perspective appreciated the painting as an aesthetic piece. In a sense, the "mysterious narrative of perception" forced me to develop perceptions that differ from each other.
My second perspective was more skeptical, because I thought his explanation rested on three premises which aren't completely indisputable.
1. The easel in the painting is the easel being used, if it is an easel at all.
2. The painter is in the painting.
3. The king and queen are being reflected in a mirror.
This perspective of mine took a more Occam's Razor's approach. To me, it's easier to say that the the easel isn't really an easel and the painter is located outside of the painting. The mirror was still somewhat creepy though, since the only explanation is that it's a bright painting or a window, but that seemed like a stretch.
The first perspective of mine took figuring out the painting as a challenge. The second perspective appreciated the painting as an aesthetic piece. In a sense, the "mysterious narrative of perception" forced me to develop perceptions that differ from each other.
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