MovieChat Forums > The Draughtsman's Contract (1982) Discussion > Does anybody know what that device is ca...

Does anybody know what that device is called?


Hi,

I was appealed to the device Mr Neville was seeing through the house everytime he draw. It is black and has two rectangular frames, one is small and the other larger, mounted on a tripod. the two frames has thin wire within it to create smaller rectangular frames. It seems that he use it to lock his point of view of the drawing object so he can recreate the shape precisely on to a sheet of paper which drawn similar frames.

I haven't seen anything like this gadget anywhere else but in this film. And I looked for informations online at various places such as landscape or technical drawing, art and the film with no luck.

It is possible that such equipments as this one existed in Rennaissance era and disappeared as photography was developed. or could be total invention for this film.

Does anybody know anything about it?

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device used was presumably for preportion control actually quite a interesting fact there was a bbc open university program on uk tv that took a certain dutch artist's painting to show the reference to making a painting with this priciple


posted in this flickr group thread
ten movies every photographer should see

http://www.flickr.com/groups/central/discuss/151637/72157594245421972/

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Thank you, sarchiorama,

Can you recall the artists and the paintings appeared on UK TV?

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the image used in the tv programme was one of vermeer's which one escapes me at the the moment

http://www.flickr.com/photos/mrshappyhousewife/119335169/


but I quite sure it was one with that infamous window

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http://www.debalie.nl/dossierartikel.jsp?dossierid=10123&articleid=10825

This site deals with the subject to a degree. The author refers to the 'device' as a 'perspectival machine.'
Leads into optics and camera obscura to film.
A grid is a common enough term today in design language.

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I would start at 'GRID.'
It is a draughtsman's grid to obtain linear perspective. A professional Draughtsman would use it for or elevations in realtionship to typography in plans.
It gives one point perspective with orthagonals converging at a focal point. Similarly used in easelpainting for landsapes etc as we saw in TDC.
It would relate to the Scientific Renaissance and the new ways of seeing in conjunction with the development of optics.

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http://www.uni-muenster.de/EuropeanPopularScience/win-sample/win-overview1.htm


Chapter Four
Renaissance: the Appearance of the Screen
"Writing about Dürer’s famous print of a draftsman drawing a nude through a screen of perspectival threads, Martin Jay notes that a ‘reifying male look’ turns ‘its targets onto stone’; consequently, the marmoreal nude is drained of its capacity to arouse desire...Similarly, John Berger compares Alberti’s window to ‘a safe let into a wall, a safe into which the visible has been deposited.’ And in the Draughtsman’s Contract, time and again the draughtsman tries to eliminate all motion, any sign of life from the scenes he is rendering. With the perspectival machines, the imprisonment of the subject also happens in a literal sense...[up to the] petrified world of the photographic image..." (Lev Manovich) - What Renaissance artists had clearly achieved through careful observation of nature, including studies of anatomical dissections, was a means to recreate the 3-dimensional physical reality of the human form on 2-dimensional surfaces. In part, the key to this achievement lay in understanding the underlying, hidden structure of the human body.

But in addition, by literally systematizing the ‘view through a window’, a similar inspiration occurred to those seeking a corresponding dramatic reality in the representation of physical space. A means - namely window-like frames - was devised early in the 15th century for translating the reality of 3-dimensional natural phenomena onto 2-dimensional surfaces, producing virtually realistic copies. A correspondence was thus made possible, through mathematics, between the representational reality of the artist and the physical reality of nature.

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Yeah, there were several devices like the one in Durer or Draughstman's Contract being used by respected artists everywhere.

David Hockney put a book out several years ago that traces the use of these instruments, called Hidden Knowledge (I think). Artists also used camera-obscura lenses to project a photo-image directly onto the work service, as a reference.

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Secret Knowldedge, the book is called, and I'd recommend it to anyone with more than a passing interest in the development of "photographic" naturalism in Western painting. A splendid book.

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[deleted]

The same device is used by Artemisia Gentileschi in the film "Artemsia"-- she was a 17th c. Italian artist--good film also

Beware the dreamers of the day, for they would enact their dreams with open eyes-Lawrence of Arabia

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One of my professors, who has actually worked with Greenaway, called it a "viewfinder."

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"Perspective viewer."

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