Re: From abstract to concrete visual representations

Deborah,

Any painting by Raphael or Vermeer would be way over in the left corner of McCloud's triangle. One would have to zoom in to make any difference in their placement if there is any. In fact, you'd have to be dealing with the extreme corner to even notice that Delacroix is above and slightly right--more toward cubist-like abstraction (as opposed to the happy face like abstraction that Scott calls "iconic.")

Since the triangle is about style of visual representation, there is no distinction between an image informed by philosophers and theologians and one copied from a randomly chosen snapshot. Your assumption that moving toward specific narrative, thus "text," means a movement toward the right corner is just another reason that he would have been better off stopping with drawings. Even Scott thinks the extra writing triangle is a bit wanky.


> "The Picture Plane" muddies even more when we
> restrict the representational images plotted thereon
> to early-modern portrait prints & engravings (vs.
> painted portraits).

I'm not sure I follow what you're saying. The distinction he made is only about representational images of humans.

> McCloud does plot different kinds of "type" 
[snip]
> which I took to mean that he was
> raising the matter for consideration.

He was. I think most of us (including Scott) have concluded that it was probably a dead end.

Gunnar
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