イタリア近世初期美術における空間構成の問題
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概要
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The theoretical perspective, which originated in Qnattrocento Italy, evolved as an abstract and intellectual pursuit of reproducing natural views, -as a legitimate construction for "a view through a window", and as a search for a mathematical principle of vision. But this measurable and scientific principle cannot be said to have been successfully assimilated into art experience. The establishment of a vanishing point which focuses and crosses upon a difinite point of a picture significantly testifies to the vision of the Modern artist, which distinguishes him from the Medieval. It enabled a painter to reserve his right to the free presentation of his picture, while it made him responsible for all his duties as a supervisor of his art ; he was to interpret his subject on his own responsibility and present it to the spectator. As it is, we find rather few practices of this meaningful point in the art of the period : though, of course, we often see linear perspectives, which help conduct spectator's eyes or divide (or link) several scenes of a picture. A vanishing point or a horizon (a locus of v. p.) hides itself behind something, and in many instances spatial construction is achieved with fore-and middle-grounds without the back-ground. The something may by traced up to the preceding age, and be its significant heritage, transcendental and spiritual. But this knotty subject seen in the spatial construction of the Quattrocento art may not be characteristic of the struggling artist of the forming period of modern art philosophy.
- 美学会の論文
- 1961-12-30
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関連論文
- ティーノ・ディ・カマイーノのフィレンツェ時代(大会報告)
- ジョット以前 : アッシーシの聖フランチェスコ寺をめぐる研究ノート
- イタリア近世初期美術における空間構成の問題
- フィンケルシュタイン, 『美術におけるリアリズム』, Sidney Finkelstein, Realism in Art. N. Y., International Publishers, 1954, 190p.