David Madore's WebLog: Images

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I've finished voting on the IRTC entries (see my previous note below). I won't say which image is my favorite, though, because it wouldn't be right, the competition being still under way.

The reason I mention raytracing again, however, is because my friend Antoine has pointed to me the following site, which I wish to link to: Oyonale; now as far as raytracing artists go, this one is a genius. There is this famous fable about Zeuxis having painted some grapes which looked so realistic that real pigeons flew to the canvas and tried to eat them (the story goes on to tell that Zeuxis was unhappy, because art should not just copy nature). Well, Oyonale's raytracing is so good that sometimes you don't see anything remarkable about them: you just think the pictures are photographs; but they're not, they're computer generated! Of course, he won the IRTC several times. Anyway, his artwork is not only highly photo-realistic, but it is artistically very interesting, also: he has much the talent of René Magritte in many ways; see, for example, his In Vitro image, or the (rather frightening) Dark Side of the Trees, or again Winter, or Persistence: these images definitely have a Magritte-like quality. Plus, he writes little stories (or story fragments) to accompany each image. His artwork is for sale as posters, too.

Since I'm talking about images, I'd also like to put a link to Art Magick, which is a virtual gallery displaying paintings from certain art movements of the 19th and early 20th century (Symbolists and Pre-Raphaelites, for example; with such painters as Edward Burne-Jones, Lawrence Alma-Tadema, Arnold Böcklin or John Martin) that I happen to have a fondness for. In case you wonder what the connection with raytracing is, I was impressed once in an exhibit to see how much certain of John Martin's paintings, say, The Seventh Plague of Egypt were reminiscent of various raytraced images. And some would certainly have been interesting candidates for this round of the IRTC (“architecture”).

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