The method of perspective representation has consolidated over time, up to its complete formalization, through a series of important and complementary achievements both in the scientific and artistic fields. While the study of the laws of ancient optics, combined with practical experimentation, slowly contributed to the rigorous formalization of the method in Renaissance intellectual circles, the workshop practice required operational rules that quickly and easily enabled artists to produce images in which the depth of the space and the three-dimensionality of the subjects it contains were evident. The study presented here intends to focus attention on the procedures practiced by artists, with particular attention to perspectives rules that really weren’t , in the scientific sense of the term, but which contributed to establish a shared and widespread basis for the development of sensitivity of seeing and representing in perspective, in the intimate and labile boundary between prospectiva pingendi and fingendi.
Il metodo di rappresentazione prospettica si è consolidato nel tempo, fino alla sua completa formalizzazione, attraverso una serie di importanti e complementari conquiste in ambito scientifico ed artistico. Mentre lo studio delle leggi dell’ottica antica, unito alle sperimentazioni pratiche, contribuiva lentamente alla formalizzazione rigorosa del metodo negli ambienti intellettuali rinascimentali, la pratica di bottega esigeva delle regole operative che mettessero rapidamente e facilmente gli artisti in grado di produrre delle immagini nelle quali fosse evidente la profondità dello spazio e la tridimensionalità dei soggetti in esso contenuti. Lo studio che qui si presenta intende focalizzare l’attenzione sui procedimenti praticati dagli artisti, con una particolare attenzione alle prospettive che non lo erano, nell’accezione scientifica del termine, ma che hanno contribuito a costituire una base condivisa e diffusa per lo sviluppo della sensibilità del vedere e rappresentare in prospettiva, nell’intimo e labile confine tra prospectiva fingendi e pingendi.
Prospectiva Pingendi, Prospectiva Fingendi. For a History of the Different Rules of Practical Perspective / Romor, Jessica. - In: IMG JOURNAL. - ISSN 2724-2463. - 4(2021), pp. 383-401. [10.6092/issn.2724-2463/12688]
Prospectiva Pingendi, Prospectiva Fingendi. For a History of the Different Rules of Practical Perspective
Jessica Romor
2021
Abstract
The method of perspective representation has consolidated over time, up to its complete formalization, through a series of important and complementary achievements both in the scientific and artistic fields. While the study of the laws of ancient optics, combined with practical experimentation, slowly contributed to the rigorous formalization of the method in Renaissance intellectual circles, the workshop practice required operational rules that quickly and easily enabled artists to produce images in which the depth of the space and the three-dimensionality of the subjects it contains were evident. The study presented here intends to focus attention on the procedures practiced by artists, with particular attention to perspectives rules that really weren’t , in the scientific sense of the term, but which contributed to establish a shared and widespread basis for the development of sensitivity of seeing and representing in perspective, in the intimate and labile boundary between prospectiva pingendi and fingendi.File | Dimensione | Formato | |
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