Course detail
The Linear Perspective Iconographies - winter
FaVU-3IPE-ZAcad. year: 2011/2012
1.1. Perspective according to Ervin Panofsky represents a "symbolic form" which was born with the new conception of the world in the renaissanceera. It works in asimilar way as language, myth, or art, that is, as a constitutive element within the representation of the "world of objects." For Panofsky, linear perspective is the manifestation or metaphor of a partcular culture.
Hubert Damish, however, sees linear perspective as a demonstration of a particular plan into which an image is inscribed; perspective realizes itself in a discourse. It becomes an abstrac dialogue, a conceptual construction - "thinking in painting."
Apart from linear perspective, its variations exist (anamorphosis, deformed perspecitves).
Perspective is not only used for objectve depiction, but also for contrary reasons - the depiction of hidden images, anamorphic images etc.
Language of instruction
Mode of study
Guarantor
Learning outcomes of the course unit
Prerequisites
Co-requisites
Planned learning activities and teaching methods
Assesment methods and criteria linked to learning outcomes
Course curriculum
- historical understanding of perspective and its symbolica role; linear perspective in the present - its relationship to other cultural phenomena
- perspective and "anti-perspective (developments in the 17th and 18th centuries)
- perspective and sensual illusion vs. spiritual imagination
- perspective and "antiperspective": anamorphosis, etc
- perspective in architecture and painting as the expression of historical sensibility
- the role of geometry
- historical understanding of perspective and its symbolical role
- teaching geometry and perspective in 17th and 18th centuries
Work placements
Aims
Specification of controlled education, way of implementation and compensation for absences
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Prerequisites and corequisites
Basic literature
Arthur C. Danto, Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective, Farrar Straus & Giroux (T), 1992 (18$)
Barbara Maria Statford, Frances Terpak, Isotta Poggi, Devices of Wonder: From the World in a Box to Images on a Screen, J. Paul Getty Trust Publications 2001
Hubert Damisch, Janet Lloyd, A Theory of /Cloud/: Toward a History of Painting (Cultural Memory in the Present, Stanford Univ. Press 2002
Hubert Damisch, The Origin of Perspective, Massachusetts 1994
James Elkins, The Poetics of Perpective, Cornel Univ. Press 1994
Jurgis Baltrušaitis, Anamorfic Art, Cambridge 1977
Martin Kemp - The science af art. optical themes in western art from brunelleschi to seurat
Patric Mausies, Cabinets of Curiosites, Thames & Hudson 2002
Samuel Y. Edgerton, The Heritage of Giotto's Geometry: Art and Science on the Eve of the Scientific Revolution, Cornell Univ. Press 1991
Recommended reading
Classification of course in study plans
- Programme VUD Doctoral
branch UMVP_DP , 1 year of study, winter semester, elective
branch UMVP_DP , 2 year of study, winter semester, elective - Programme VUD Doctoral
branch , 1 year of study, winter semester, elective
branch , 2 year of study, winter semester, elective
branch , 3 year of study, winter semester, elective