Il presente post sarebbe stato più giusto averlo inserito in UMANISTICA, ma avendovi pubblicato di fresco il post "Navigli amore mio", che sta riscuotendo un certo interesse, ho preferito inserire questo in STORIA, although, in reality, it is treated ART HISTORY.
I had requested "the family", and "some university Free Time" for clarification regarding the "inverted pyramid", "spherical perspective", and so on. What could be better if you do not respond with the copy-paste of a "lesson" that made me persoalizzata of Josh ( Garden of the Hesperides, with the following article (click to read) .
Here is the content of that comment, Article of 19 March 2009:
"... the inverted pyramid, or rather I could tell the truncated inverted pyramid is the classic representation prospettica in pittura, la prospettiva rinascimentale dell'Alberti, con i punti di fuga, o come puoi vedere nelle declinazioni successive anche nelle 'quinte' architettoniche e teatrali dei dipinti del manierismo, del barocco, o del 1700-1800.
Sarà Cézanne nella 2nda metà 1800 il primo rivoluzionario a rifiutare il sistema di rappresentazione con la prospettiva classica, appunto senza 'il tronco di piramide rovesciata'. Cézanne utilizza un sistema calibrato su uno sferoide prospettico: gli elementi portanti dello sferoide immaginario sono curvilinei...quindi sostituiscono il tronco di piramide rovesciata dell'Alberti.
Sui 2 sistemi prospettici suddetti nella storia dell'arte:
per intendere la prospettiva classica a piramide tronca rovesciata cfr. per esempio questo quadro, una classica veduta di C tutta la pittura ha seguito questo codice di rappresentazione della prospettiva e della profondità, con questo senso dei punti di fuga.
Sui 2 sistemi prospettici suddetti nella storia dell'arte:
per intendere la prospettiva classica a piramide tronca rovesciata cfr. per esempio questo quadro, una classica veduta di C tutta la pittura ha seguito questo codice di rappresentazione della prospettiva e della profondità, con questo senso dei punti di fuga.
Prendi ora Cézanne, 'le grandi bagnanti' del 1906
http://www.tbarte.com/sito%20normale/RUBRICA%20STORIA%20DELL%27ARTE/PAGINE%20RUBRICA/foto%20cezanne%20e%20il%20cubismo/cezannelebagnanti.jpg
visto? non c'è più lo stesso senso di profondità. Tutto è più vicino, meno 'sfondato', le linee sono curve (lo sferoide) e piatte.
La vera rottura Cèzanne la ottiene using a perspective based on the spheroid, whose elements are curvilinear and replacing the inverted pyramid of Albert C.
it relies on the principle of the world picture projected on the curved surface of the retina
. In the works of C. and the success of many other space inside the
ball (and the subsequent multiplication of points of view and vision plans at the same time as in Cubism) can never get away from the observer as the one built into a pyramid, whose summit
while maintaining the same base, he could get away to infinity.
There is also a famous book of history / criticism that explains much better than me art not only at periodization or medallions, but a real turning point to another, in the meantime I'll sign:
http://www.tbarte.com/sito%20normale/RUBRICA%20STORIA%20DELL%27ARTE/PAGINE%20RUBRICA/foto%20cezanne%20e%20il%20cubismo/cezannelebagnanti.jpg
visto? non c'è più lo stesso senso di profondità. Tutto è più vicino, meno 'sfondato', le linee sono curve (lo sferoide) e piatte.
La vera rottura Cèzanne la ottiene using a perspective based on the spheroid, whose elements are curvilinear and replacing the inverted pyramid of Albert C.
it relies on the principle of the world picture projected on the curved surface of the retina
. In the works of C. and the success of many other space inside the
ball (and the subsequent multiplication of points of view and vision plans at the same time as in Cubism) can never get away from the observer as the one built into a pyramid, whose summit
while maintaining the same base, he could get away to infinity.
There is also a famous book of history / criticism that explains much better than me art not only at periodization or medallions, but a real turning point to another, in the meantime I'll sign:
Renato Barilli, "contemporary art", Feltrinelli, MI 2003
Searching the Cezanne, in an art book files attached to Corser, years ago, arrived in Modigliani Giulio Carlo Argan writes:
"When Modigliani arrived in Paris in 1906, understands that all modern art by Cezanne was born. The Romanian sculptor Brancusi, (...) inspires the cult of pure form and closed in the line, by itself, and defines the plasma volume. It is dedicated to sculpture, first, only later realizes that the material best suited to his research Plastic is the color. The integrity of a form that is given at all, and not in relation to a large space, is also the quality of Negro sculpture. Cezanne and blacks were the two extremes ranged Picasso including the historical problem of modern art. "
----
The concept of" spheroid ", explained to you, me and a clear vision of the picture you suggested Cezanne "Women in the bathroom" (more under the same framework: "Large Bathers"), but also paintings by other artists, but I mention only as an academic: Matisse - La joie de vivre.
As for the other " Milestone, long ago, a title Corsera declaimed Alberti as the 'inventor' of the style in vogue went for 4 or 5 centuries.
Searching the Cezanne, in an art book files attached to Corser, years ago, arrived in Modigliani Giulio Carlo Argan writes:
"When Modigliani arrived in Paris in 1906, understands that all modern art by Cezanne was born. The Romanian sculptor Brancusi, (...) inspires the cult of pure form and closed in the line, by itself, and defines the plasma volume. It is dedicated to sculpture, first, only later realizes that the material best suited to his research Plastic is the color. The integrity of a form that is given at all, and not in relation to a large space, is also the quality of Negro sculpture. Cezanne and blacks were the two extremes ranged Picasso including the historical problem of modern art. "
----
The concept of" spheroid ", explained to you, me and a clear vision of the picture you suggested Cezanne "Women in the bathroom" (more under the same framework: "Large Bathers"), but also paintings by other artists, but I mention only as an academic: Matisse - La joie de vivre.
As for the other " Milestone, long ago, a title Corsera declaimed Alberti as the 'inventor' of the style in vogue went for 4 or 5 centuries.
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