In this image Irving Penn has used a minimum depth of field to blur out the background. He has focused on the glass bottle and so it is in sharp focus. However, the background is blurred – we can see a woman about to smoke a cigarette but it is fuzzy and atmospheric. Penn has guided the viewer’s eyes towards the glass and the sharp focus of the glass is contrasted against the blurred figure in the background. The glass is working as a lens – just like the lens used to create the image.
This is a strange still from an early silent Alfred Hitchcock film. It is taken from his 1928 film 'Champagne' were he experimented with a camera lens placed inside a giant champagne glass. The glass fills with liquid and is tipped as if we, the viewer, are drinking from it and seeing through it. We can just make out a crowd and couple dancing.
Still from Hitchcock's 'The Ring' 1927 - a moving reflection in a stream
During the filming of Hitchcock's early silent film The Ring (1927) he experimented with trick photography. In the above still we see a reflection of a couple in a stream. When the water ripples the image itself ripples and the figure go in and out of abstraction.
Stills from Hitchcock's 'The Ring' 1927 - seen from the viewpoint of a drunk man
In these two scenes we see what a drunk sees and the world appears distorted. This could emulate the effect of drink but also be a metaphor for viewing the world through the bottom of a glass. Dancers distort until they are unrecognizable. Hitchcock uses blurring and mirrors to distort the image and create a sense of disorientation. The keys of a piano appear elongated as if seen through a fairground mirror. This visual experimentation is a key aspect of Hitchcock's Cinematic style.
Andre Kertesz - Paris, Door Distortion, July 29, 1984
Andre Kertesz ‘Distortion 144, Paris’ 1933
Andre Kertesz ‘Distortion 147, Paris' 1933
These strange distorted images are by André Kertesz. ‘Distortions’ (1933) is a series of photographs of women reflected in distorting carnival mirrors that transform them into dreamlike creatures.
Salvador Dali 'Soft Construction With Boiled Beans (Premonition of Civil War)',1936, oil on canvas.
The deformed melting figures of Dali's painting mirrors the distortions that appear in Kertesz's photographs. This painting is one of only a handful in which Dalí turned his attention to the tragedy that beset his homeland on July 17, 1936, when General Francisco Franco led a military coup d'état against the democratically elected Popular Front government. The artist's savage vision of his country as a decomposing figure tearing itself apart preceded the outbreak of the Spanish Civil War and thus prophetically foretold the atrocities committed during this bloody conflict. Other artists who have focused on the Spanish Civil War are Picasso (Guernica), Guillermo del Toro (Pan's Labyrinth) and, during the earlier civil war, Goya (Disasters of War). Dada Photomontage distorted the human form immediately after the first world war. As well as having surreal qualities these images, like the Dada Photomontages could be a reaction to the human horrors of the first world war and the rise of 1930's fascism.
Henry Moore. Working Model for Reclining Figure, 1957. Bronze.
Henry Moore emerged in the 1920s as a radical, experimental and avant-garde figure and was rapidly established as the leading British sculptor of his generation. His principal and enduring subject was the human body, through which he believed ‘one can express more completely one’s feelings about the world than in any other way’. Moore also reflected in his work his reaction to two world wars. The smooth quality of these images are similar to the effect of melting ice and how is distorts as it transforms back into liquid.
Claes Oldenburg 'Giant Soft Drum Set 1'
Sculptures are traditionally cut from rock or wood. They can be moulded from clay. Oldenburg's everyday objects seem to melt into the gallery floor - evaporating into nothing.