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Author: T. Heaton Cooper
Publisher: Courier Dover Publications
ISBN: 0486846814
Category : Art
Languages : en
Pages : 115
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Book Description
This small and focused guide features full-page graphic representations with written descriptions on the facing page that discuss and offer direction on foreshortening and shadows in relation to perspective.
Author: T. Heaton Cooper
Publisher: Courier Dover Publications
ISBN: 0486846814
Category : Art
Languages : en
Pages : 115
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Book Description
This small and focused guide features full-page graphic representations with written descriptions on the facing page that discuss and offer direction on foreshortening and shadows in relation to perspective.
Author: T. Heaton Cooper
Publisher: Dover Publications
ISBN: 048684272X
Category : Art
Languages : en
Pages : 115
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Book Description
This slim and focused guide to understanding and analyzing perspective in drawing was written by T. Heaton Cooper, a longtime instructor at the Cleveland School of Art. It consists of 50 examples: every left-hand page features a graphic representation of the written descriptions on the opposite page, providing an improved understanding of the concepts via visual examples. Discussions and directions on foreshortening and shadows in relation to perspective complement the illustrations. Students, art teachers, and artists wishing to improve their skills will find this book an ideal resource for study and reference. Its compact size will make it an easy addition to the paint box or sketch kit.
Author: Rex Vicat Cole
Publisher: Courier Corporation
ISBN: 0486134547
Category : Art
Languages : en
Pages : 287
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Book Description
Depth, perspective of sky and sea, shadows, much more, not usually covered. 391 diagrams, 81 reproductions of drawings and paintings.
Author: Lyle Massey
Publisher: Penn State Press
ISBN: 0271029803
Category : Art
Languages : en
Pages : 190
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Book Description
In Picturing Space, Displacing Bodies, Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist&’s or viewer&’s viewpoint or were unsuccessful at conjoining fictive and lived space.Showing how these &“failures&” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, Picturing Space, Displacing Bodies asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter&’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.
Author: Ernest W. Watson
Publisher: Courier Corporation
ISBN: 9780486273372
Category : Art
Languages : en
Pages : 166
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Book Description
Distinguished educator shows that violating the academic rules of perspective can be as important as adhering to them. Coverage of the picture plane, foreshortening and convergence, three-point perspective, figures in perspective, more. Also analysis of the works of over 20 leading illustrators and artists, including Pieter de Hooch and Paul Ceacute;zanne. 349 illustrations.
Author: Margaret A. Hagen
Publisher: Academic Press
ISBN: 1483259560
Category : Design
Languages : en
Pages : 381
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Book Description
Durer's Devices: Beyond the Projective Model of Pictures is a collection of papers that discusses the nature of picture making and perception. One paper presents a perceptual theory of pictorial representation in which cultural and historical options in styles of depiction that appear to be different are actually closely related perceptually. Another paper discusses pictorial functions and perceptual structures including pictorial representation, perceptual theory, flat canvass, and the deep world. One paper suggests that perception can be more a matter of information "make up" than "pick up." Light becomes somewhat informative and the eye, correspondingly, becomes less or more presumptive. Another paper notes that human vision is transformed by our modes of representation, that image formation can be essentially incomplete, false, or misleading (primarily as regards dramatic performance and pictorial representation). One paper makes three claims that: (1) the blind have untapped depiction abilities; (2) haptics, involving the sense of touch, have an intuitive sense of perspective; and (3) depiction is perceptual based on graphic elements and pictorial configurations. The collection is suitable for psychologists, physiologists, psychophysicists, and researchers in human perception or phenomenology.
Author: Paul Barolsky
Publisher: Penn State Press
ISBN: 0271051159
Category : Art
Languages : en
Pages : 167
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Book Description
In A Brief History of the Artist from God to Picasso, Paul Barolsky explores the ways in which fiction shapes history and history informs fiction. It is a playful book about artistic obsession, about art history as both tragedy and farce, and about the heroic and the mock-heroic. The book demonstrates that the modern idea of the artist has deep roots in the image of the epic poet, from Homer to Ovid to Dante. Barolsky’s major claim is that the history of the artist is inseparable from historical fiction about the artist and that fiction is essential to the reality of the artist’s imagination.
Author: Heinrich F. Plett
Publisher: BRILL
ISBN: 9004227024
Category : Art
Languages : en
Pages : 253
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Book Description
The present study provides an extensive treatment of the topic of enargeia on the basis of the classical and humanist sources of its theoretical foundation. These serve as the basis for detailed analyses of verbal and pictorial works of the Classical Antiquity and the Early Modern Age.
Author: Garret Pagenstecher Olberding
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110749920
Category : History
Languages : en
Pages : 273
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Book Description
This volume is distinctive for its extraordinarily interdisciplinary investigations into a little discussed topic, the spatial imagination. It probes the exercise of the spatial imagination in pre-modern China across five general areas: pictorial representation, literary description, cartographic mappings, and the intertwining of heavenly and earthly space. It recommends that the spatial imagination in the pre-modern world cannot adequately be captured using a linear, militarily framed conceptualization. The scope and varying perspectives on the spatial imagination analyzed in the volume’s essays reveal a complex range of aspects that informs how space was designed and utilized. Due to the complexity and advanced scholarly level of the papers, the primary readership will be other scholars and advanced graduate students in history, history of science, geography, art history, religious studies, literature, and, broadly, sinology.
Author: K. Porter Aichele
Publisher: Rowman & Littlefield
ISBN: 1611496179
Category : Art
Languages : en
Pages : 307
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Book Description
Modern Art on Display: The Legacies of Six Collectors is structured as a sequence of case studies that pair collectors of modern art with artists they particularly favored: Duncan Phillips and Augustus Vincent Tack; Albert Barnes and Chaim Soutine; Albert Eugene Gallatin and Juan Gris; Lillie Bliss and Paul Cézanne; Etta Cone and Henri Matisse; G. David Thompson and Paul Klee. The case studies are linked by a thematic focus on the integral relationship between the collectors’ acquired knowledge about the work they amassed and their innovative display models. This focus brings a new perspective to the history of collecting and interpreting modern art in America for nearly half a century (1915-1960). By examining the books the collectors themselves read and analyzing archival photographs of their displays, the author makes a case for the historical significance of how the collectors presented the art they acquired before their collections were institutionalized.
