![]() In Old Mill light acts similarly: while those things most common to our regular line of vision-the brush and trees across the middle of the painting-are shaded out, the sunlight itself asserts its presence and the dapple on the foreground becomes unordinarily vivid-worthy of investigation. We witness the phenomenon (without the difficulty of looking at the sun) in the breached horizon of Harman’s January, Okay. ![]() Einstein, in 1905, helped us understand why light does this. He captures the abstruse edges of shadows and that odd phenomenon in which light from the sun-and this is the point at which we often avert our eyes-bends over the horizon or around the branches of trees, forming a more complete sphere of light than we should (according to our intuition) be able to see. ![]() The paintings of David Anthony Harman often work contrary to our intuition of light. ![]()
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