scholarly journals A Renaissance mathematician’s art

2019 ◽  
Vol 9 (1) ◽  
pp. 147-152
Author(s):  
Ryszard Mirek
Keyword(s):  
Piero Della Francesca

Piero della Francesca is best known as a painter but he was also a mathematician. His treatise De prospectiva pingendi is a superb example of a union between the fne arts and mathemati‑ cal sciences of arithmetic and geometry. In this paper, I explain some reasons why his paint‑ ing is considered as a part of perspective and, therefore, can be identifed with a branch of geometry.

CHRONOGRAPHY OF SPACE IN PIERO DELLA FRANCESCA

2006 ◽  
Vol 25 (2) ◽  
pp. 5-13
Author(s):  
Avigdor W. G. Posèq
Keyword(s):  
Piero Della Francesca

Seurat and Piero Della Francesca

1965 ◽  
Vol 47 (2) ◽  
pp. 265-271 ◽  
Author(s):  
Albert Boime
Keyword(s):  
Piero Della Francesca

scholarly journals Pier Paolo Pasolini e as linguagens do real

2020 ◽  
Vol 40 (2) ◽  
pp. 580-609
Author(s):  
Roan Costa Cordeiro
Keyword(s):  
Pier Paolo Pasolini ◽  
Piero Della Francesca

O nexo estabelecido por Pier Paolo Pasolini entre realidade e linguagem constitui uma tensão que distende as suas obras em distintos meios de expressão. Diante dos vínculos particulares que ele estabelece entre a linguagem pictórica e a poética, nos quais a recepção do aparato crítico de Roberto Longhi se mostra estratégica, propõe-se considerá-los por meio do gesto exemplarmente cristalizado nos versos de Gli affreschi di Piero ad Arezzo, primeira parte do poema La ricchezza (1955-1957), coligido em La religione del mio tempo (1961). Nesses versos, para os quais se apresenta tradução neste artigo, o impacto produzido pela pintura renascentista de Piero della Francesca permite observar o vitalismo estético que fundamenta a práxis poética pasoliniana, assim como a crítica do presente que articula tal prática. Nesse sentido, verifica-se que também a perspectiva de Pasolini acerca das artes visuais se revela uma penetrante tradução histórica e crítica da própria realidade como forma de linguagem.

PIERO DELLA FRANCESCA: SAN FRANCESCO, AREZZO

The Art Book ◽  
1994 ◽  
Vol 1 (4) ◽  
pp. 16a-17
Author(s):  
CRISPIN ROBINSON
Keyword(s):  
Piero Della Francesca

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.

Space, Vision, and Faith

Space ◽  
2020 ◽  
pp. 176-183
Author(s):  
Mari Yoko Hara
Keyword(s):  
Early Modern ◽  
Full Advantage ◽  
Modern Art ◽  
Optical Function ◽  
Linear Perspective ◽  
Visual Artists ◽  
Piero Della Francesca ◽  
One To One

Linear perspective served as a useful tool in the pursuit of verisimilitude in early modern art. But the technique’s enduring appeal among visual artists from this period did not stem from its ability to transcribe the world’s appearance alone. Rather, as this Reflection highlights, it was the perspectival image’s capacity to build a direct, one-to-one rapport with a viewer that most excited art practitioners. Painters like Piero della Francesca and Giovanni Bellini took full advantage of linear perspective’s potential for simulating vision. The spaces they constructed in altarpieces and other devotional imagery often showed supernatural realms that clearly defy human optical function. This essay presents several examples of early modern works that evoke spiritual vision through linear perspective constructions.

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