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oapen-20.500.12657-554802022-06-01T03:36:31Z Diminuzioni e accrescimenti Bartoli, Maria Teresa Lusoli, Monica bic Book Industry Communication::A The arts::AM Architecture::AMC Architectural structure & design bic Book Industry Communication::T Technology, engineering, agriculture::TB Technology: general issues::TBD Technical design bic Book Industry Communication::T Technology, engineering, agriculture::TB Technology: general issues::TBG Engineering graphics & technical drawing The perspective in graphic arts was born with a different form than the one used to present it in today’s courses, and it developed along with the transformations of scientific thought. This study disassembles from the inside the perspective images of a series of works, and then assembles them again, using clear graphic elaborations to show every step of the process. The sequence of the essays illustrates the evolution of role of the abacus and of measures in the works of the first artist-scientists, according to the scientific thought of the time. From Humanism to Baroque, perspective ceases to be a research on the truth of the eye. On the contrary, it becomes the search of the the eye’s deception, exploiting mechanical devices and complex theorems of geometric optics. The original quest is therefore replaced by technical virtuosity. The final repertoire offers a selection of examples showing the wideness of the theme over the centuries. 2022-05-31T10:31:07Z 2022-05-31T10:31:07Z 2018 book ONIX_20220531_9788864537313_764 2704-5919 9788864537313 9788864537306 9788892731059 https://library.oapen.org/handle/20.500.12657/55480 ita Studi e saggi application/pdf Attribution 4.0 International 9788864537313.pdf https://books.fupress.com/isbn/9788864537313 Firenze University Press 10.36253/978-88-6453-731-3 The perspective in graphic arts was born with a different form than the one used to present it in today’s courses, and it developed along with the transformations of scientific thought. This study disassembles from the inside the perspective images of a series of works, and then assembles them again, using clear graphic elaborations to show every step of the process. The sequence of the essays illustrates the evolution of role of the abacus and of measures in the works of the first artist-scientists, according to the scientific thought of the time. From Humanism to Baroque, perspective ceases to be a research on the truth of the eye. On the contrary, it becomes the search of the the eye’s deception, exploiting mechanical devices and complex theorems of geometric optics. The original quest is therefore replaced by technical virtuosity. The final repertoire offers a selection of examples showing the wideness of the theme over the centuries. 10.36253/978-88-6453-731-3 bf65d21a-78e5-4ba2-983a-dbfa90962870 9788864537313 9788864537306 9788892731059 190 320 Florence open access
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The perspective in graphic arts was born with a different form than the one used to present it in today’s courses, and it developed along with the transformations of scientific thought. This study disassembles from the inside the perspective images of a series of works, and then assembles them again, using clear graphic elaborations to show every step of the process. The sequence of the essays illustrates the evolution of role of the abacus and of measures in the works of the first artist-scientists, according to the scientific thought of the time. From Humanism to Baroque, perspective ceases to be a research on the truth of the eye. On the contrary, it becomes the search of the the eye’s deception, exploiting mechanical devices and complex theorems of geometric optics. The original quest is therefore replaced by technical virtuosity. The final repertoire offers a selection of examples showing the wideness of the theme over the centuries.
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