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OBLIQUE DRAWING: A HISTORY OF ANTI-PERSPECTIVE ARCHITECTURE) SCOLARI HARDCOVER

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eBay-Artikelnr.:204535739204

Artikelmerkmale

Artikelzustand
Neuwertig: Buch, das wie neu aussieht, aber bereits gelesen wurde. Der Einband weist keine ...
Type
Novel
Era
2000s
Narrative Type
Nonfiction
Country/Region of Manufacture
United States
ISBN
9780262017749

Über dieses Produkt

Product Identifiers

Publisher
MIT Press
ISBN-10
0262017741
ISBN-13
9780262017749
eBay Product ID (ePID)
117273966

Product Key Features

Original Language
Italian
Book Title
Oblique Drawing : a History of Anti-Perspective
Number of Pages
416 Pages
Language
English
Publication Year
2012
Topic
Geometry / General, Techniques / Drawing, Criticism, History / General
Illustrator
Yes
Genre
Mathematics, Art, Architecture
Author
Massimo Scolari
Book Series
Writing Architecture Ser.
Format
Hardcover

Dimensions

Item Height
1 in
Item Weight
31.6 Oz
Item Length
9.2 in
Item Width
6.2 in

Additional Product Features

Intended Audience
Trade
LCCN
2011-052651
Dewey Edition
23
Reviews
...[A]n excellent resource for artists, architects, and historians. And, finally,what Oblique Perspective does achieve is to underscore the need for a more comprehensive study, orperhaps even many studies., "...[A]n excellent resource for artists, architects, and historians. And, finally,what Oblique Perspective does achieve is to underscore the need for a more comprehensive study, orperhaps even many studies." -- Nancy Goldring , Architect'sNewspaper, "...[A]n excellent resource for artists, architects, and historians. And,finally, what Oblique Perspective does achieve is to underscore the need for a more comprehensivestudy, or perhaps even many studies." -- Nancy Goldring , Architect'sNewspaper, ...[A]n excellent resource for artists, architects, and historians. And, finally, what Oblique Perspective does achieve is to underscore the need for a more comprehensive study, or perhaps even many studies.
Grade From
College Graduate Student
Dewey Decimal
741.01/8
Synopsis
For more than half a century, Erwin Panofsky's "Perspective as Symbolic Form" has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In "Oblique Drawing," Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others., For more than half a century, Erwin Panofsky's Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In Oblique Drawing , Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.
LC Classification Number
NA2711.S3613 2012

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vintage-80

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