scholarly journals Kuss eines Zyklopen. Die umgekehrte Perspektive Florenskis zwischen Kultbild und Kunstbild

2019 ◽  
Vol 82 (1) ◽  
pp. 115-133
Author(s):  
Fabian Heffermehl
Keyword(s):  
Binocular Vision ◽  
Cultural Criticism ◽  
Linear Perspective ◽  
Russian Orthodox ◽  
Main Principle ◽  
Pictorial Space ◽  
Renaissance Painting ◽  
Pavel Florensky

Abstract With his Reverse Perspective (1919) the Armeno-Russian theologian and mathematician Pavel Florensky denounced the monocular, ‘cyclopean’ vision otherwise seen as the main principle in Renaissance painting. Florensky connected the medieval icon with an ‘organic idea’ involving 1) binocular vision, 2) the observer’s movement in pictorial space, and 3) tactile proximity between observer and image. This article explores how ideas of perception relate to Florensky’s cultural criticism. His reverse perspective emerges as a complex controversy, not only between two principles in painting – the icon and the linear perspective. Florensky also challenges himself as a westernized intellectual, who, rooted in Orientalism, fails to defend a Russian Orthodox worldview.

scholarly journals Les débats sur les fondements de la perspective linéaire de Piero della Francesca à Egnatio Danti: un cas de mathématisation à rebours

2010 ◽  
Vol 15 (4-5) ◽  
pp. 474-504
Author(s):  
Dominique Raynaud
Keyword(s):  
Binocular Vision ◽  
Linear Perspective ◽  
A Posteriori ◽  
Physiological Basis ◽  
Piero Della Francesca ◽  
Broad Field ◽  
Field Of Vision ◽  
History Of

In the Quattrocento and Cinquecento the rise of linear perspective caused many polemics which opposed the supporters of an artificial geometrisation of sight to those who were praising the qualities of the drawing according to nature, or were invoking some arguments on a physiological basis. These debates can be grouped according to the four alternatives that form their central concerns: restricted vs. broad field of vision; ocular immobility vs. mobility; curvilinear vs. planar picture; monocular vs. binocular vision. By retaining the first terms of these four alternatives, the history of perspective eliminated many heterodox constructions. From the viewpoint of mathematisation the interest of these debates is that they succeeded, rather than preceded, the adoption of a perspective system defined by the intersection of the visual pyramid. Thus the history of linear perspective constitutes a genuine case of a posteriori justification, or, put differently, it gives us a case of upside down mathematisation.

Conflict between Stereo and Perspective in Resolving the Slant of Cyclopean Trapezoids

Perception ◽  
1996 ◽  
Vol 25 (1_suppl) ◽  
pp. 58-58 ◽  
Author(s):  
B Gillam ◽  
M Cook ◽  
S Blackburn
Keyword(s):  
Binocular Vision ◽  
Strong Influence ◽  
Linear Perspective ◽  
Conflict Studies ◽  
Slant Perception ◽  
Outline Shape ◽  
Random Line

Cue theory has had a resurgence in recent years as part of modular approaches to vision. Cues often seem to combine according to a weighted linear sum, although interactions may also occur. Conflict studies show that linear perspective and stereo combine to influence slant perception, with perspective weighted surprisingly heavily. We investigated the effect of conflicting linear perspective in reducing stereo slant when perspective is present as a purely cyclopean outline shape, compared with conditions when the shape is also monocularly present. In experiment 1, random line stereograms were generated with cyclopean trapezoids standing out from a background. Their outline convergence either conflicted with or supported a stereo gradient across the surface of the trapezoid. Two stereo slants and two standing disparities were used. In experiment 2, an aperture condition was included with the cyclopean trapezoids behind the surround. There was strong influence of trapezoid direction on perceived slant. This influence was only marginally increased by outlining the trapezoid. These findings demonstrate the effectiveness of cyclopean shape as perspective information. As expected, when the trapezoid was an area seen through an aperture, its direction did not significantly affect stereo slant. We conclude that stereo and perspective cannot be considered as separate modules. In binocular vision, perspective is conveyed stereoscopically.

History in Three Dimensions

2020 ◽  
pp. 99-168
Author(s):  
Mike Goode
Keyword(s):  
Binocular Vision ◽  
Three Dimensions ◽  
Linear Perspective ◽  
George Washington ◽  
Media Technologies ◽  
The Aesthetic ◽  
Immersive Media

The chapter analyzes how the nineteenth century’s two most significant immersive media—panoramas and stereoscopic photographs—comment on and draw attention to their differences as media through their respective uses of Walter Scott’s novels and poems, and, in turn, how these medial differences bring into relief the aesthetic and philosophical novelty of Scott’s own efforts to write visually. To make its argument, the chapter draws on a wide variety of archives and forms of evidence, including: period guidebooks to panoramas; the histories of media technologies like camera obscuras, linear perspective, and stereoscopes; Victorian stereographs of Scotland, especially by George Washington Wilson; readings of visually evocative passages in Scott’s Waverley, Ivanhoe, and The Fair Maid of Perth; Eugène Delacroix’s painting Rebecca and the Wounded Ivanhoe; and Romantic writings on optics and vision, including Scott’s Letters on Demonology and Witchcraft and his friend David Brewster’s scientific treatises on monocular and binocular vision.

Salvation in Perspective: A New Interpretation of Piero Della Francesca’s Flagellation of Christ

2017 ◽  
Vol 72 (3) ◽  
pp. 489-523
Author(s):  
Franck Mercier
Keyword(s):  
Subject Matter ◽  
Saint Augustine ◽  
The Other ◽  
Linear Perspective ◽  
Byzantine Empire ◽  
Spiritual Exercise ◽  
Pictorial Space ◽  
The Subject ◽  
New Interpretation ◽  
The Right

An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Continuing in a rich and varied hermeneutic tradition, this article proposes a new interpretation of this famous painting, diverging both from a political reading (based on the supposed links with the Byzantine Empire) and from the other traditional solution which argues for the ordinary nature of Piero’s iconography. The analysis of the geometrical pictorial space and its potential theological significance leads to a reconsideration of the painting as a visual meditation on temporality inspired by Saint Augustine, as well as a singular spiritual exercise.

scholarly journals Architectural Perspective in Italian paintings of the 14th century

2020 ◽  
Vol 14 (1) ◽  
pp. 339-365
Author(s):  
Andrey Schetnikov
Keyword(s):  
Linear Perspective ◽  
14Th Century ◽  
Pictorial Space ◽  
Pictorial Depth ◽  
Impossible Figures ◽  
Architectural Perspective

This paper discusses the system of the pictorial depth representation, typical for Giotto and other Italian artists of 14th century. Differing from the linear perspective, this system has a number of peculiar features, and its own consistent logic for the formation of pictorial space. The paper is especially focused on the contradictions of such a system, which lead to the appearance of impossible figures, and the ways in which the artists solved these difficulties.

Caution—Objects Are Closer Than They Appear: Perspectively Inverted Pseudoscopic Images behind Accelerated Space

Leonardo ◽  
2005 ◽  
Vol 38 (3) ◽  
pp. 245-253
Author(s):  
Glenn Biegon
Keyword(s):  
Linear Perspective ◽  
Set Design ◽  
3D Images ◽  
Pictorial Space ◽  
Relief Sculpture ◽  
2D And 3D ◽  
Binocular Depth

Perspective inversion reverses the flow of naturalistic pictorial space, creating a disorienting, anti-naturalistic sense of space. Inverted perspective's subversive power appears limited, however, given that no art-historical examples depict fully inverted objects in systematically inverted “unlimited spaces,” such as landscapes. The author addresses this limitation through analysis of “converse” and “pseudoscopic” 3D images—Charles Wheat-stone's two paradigms for inverting binocular depth. Wheatstone's inverted imagery proves geometrically identical to 3D art-historical precedents that conceal their perspective inversion: namely, relief sculpture, set design and architecture employing three-dimensionally “forced” perspective. As hinted by depth-inverted stereograms, linear perspective employed together with reversed overlapping cues systematically inverts unlimited space in both 2D and 3D pictures.

Sign in / Sign up

Export Citation Format

Share Document