A huge part of my coursework is dependant on reflection, to draw the viewer into the installation. My choice for reflection is as below:
In Millenium Square, England. Can you guess which is the photographer? he’s the one at the top right dressed in blue.
Eduoard Manet, A bar at the Folies-Berger, 1882
This picture contains a reflection and this reflection has been the subject of much controversy. As suggested by some critics, the woman in the reflection should appear directly behind the image of the woman facing forward, instead of to the side. Neither are the bottles reflected accurately or in like quantity for it to be a reflection. These details were criticized in the French press when the painting was shown. The assumption is faulty when one considers that the postures of the two women, however, are quite different and the presence of the man to whom the second woman speaks marks the depth of the subject area. Indeed many critics view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work. One interpretation is that the reflection is an interaction earlier in time that results in the subject’s expression in the painting’s present.
M.C Escher, Three Spheres II, 1946
There are 3 spheres as suggested by the literal title, one transparent, one reflective and one opaque. The centre sphere depicts Escher himself drawing the 3 spheres. In the reflection one can clearly see the image of the three spheres on the paper Escher is drawing on: in the center sphere of that image, one can vaguely make out the reflection of Escher’s studio which is depicted in the main image, thus this back and forth process is infinite.
This is another self portrait by M.C Escher and is called Hand with Reflecting sphere( another literal title indeed) done in January 1935. This portrait shows Escher holding and gazing into the sphere when in actual fact, he is gazing while drawing himself. These are the types of perspectives that Escher likes to use.