Looking at Lorrain Mirrors again

I wrote a blog entry on my MA Fine Art Journal about the folding form and shape of Claude Lorrain mirrors here:


For a new series of paintings under the umbrella of The Healing Room project, I’m circling back to using the crude Lorrain mirror created for me MA Thesis exhibition.

The shape and form of the Lorrain mirror are informing a number of material based decisions for me. This includes the reflective surface, the bi-fold hinged construction, and the human scale shape.

The utility of the Lorrain Mirror, a kind of early lens connected to the tradition of photography, follows my interest in “lens-meditated” reality. The mirror is a lens that reflects, represents, and simulates reality.

Sketch of man with Lorrain Mirror in photo gallery above by Thomas Gainsborough.

Short article about the Claude Glass as the 18th century version of instagram: http://kottke.org/12/04/the-18th-century-version-of-instagram

The Claude glass was a sort of early pocket lens without the camera and it was held aloft to observe a vista over one’s shoulder. The technology was simple: A blackened mirror reduced the tonal values of its reflected landscape, and a slightly convex shape pushed more scenery into a single focal point, reducing a larger vista into a tidy snapshot.

An electronic version of a Claude Glass was made by designer Jon Stam based on picturesque photographs of Verbier, Switzerland by Guide Perrini.