De Sanctis A, “The deception of the eyes” in procedures of the XI International conference of the Branches of Representation and Survey, Lerici - La Spezia 1996. Abstract: the article deals with the evolution of the meaning of perspective, starting from the Middle Ages to XVII century. So prospective meant not only as “symbolic form”, as E. Panofsky said, but also as a geometric construction competing with the fine mystic of the light of medieval origin and as a reply to the cosmologic theory, supposed from the bishop R. Grossatesta. Looking at the developments, that “mechanic” system of production of images managed to satisfy, not only “those who like understand all things designed”, but also the complex of desires that the doctrine of the fourteenth century had somehow rejected.
De Sanctis A, “L’inganno degli occhi”, in atti dell'XI Convegno Internazionale delle Discipline della Rappresentazione,Lerici - La Spezia Abstract: l’articolo è tratta l’evoluzione del significato della prospettiva, a partire dal Medioevo sino al XVII secolo. La prospettiva, cioè, non solo come “forma simbolica”, così come l’ha definita E. Panofsky, ma costruzione geometrica in gara con la mistica sottile della “luce” di origine medievale e come risposta alla teoria cosmologica, immaginata dal vescovo R. Grossatesta. A seguirne gli esiti, quel sistema “meccanico” di produzione delle immagini riuscì non solo a soddisfare “quelli che amano comprendere tutte le cose disegnate”, ma il complesso dei desideri che la dottrina del Trecento aveva in qualche modo disatteso.
L'inganno degli occhi
DE SANCTIS, Aldo
1989-01-01
Abstract
De Sanctis A, “The deception of the eyes” in procedures of the XI International conference of the Branches of Representation and Survey, Lerici - La Spezia 1996. Abstract: the article deals with the evolution of the meaning of perspective, starting from the Middle Ages to XVII century. So prospective meant not only as “symbolic form”, as E. Panofsky said, but also as a geometric construction competing with the fine mystic of the light of medieval origin and as a reply to the cosmologic theory, supposed from the bishop R. Grossatesta. Looking at the developments, that “mechanic” system of production of images managed to satisfy, not only “those who like understand all things designed”, but also the complex of desires that the doctrine of the fourteenth century had somehow rejected.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.