TITLE

Piero della Francesca and the Renaissance Proof of Linear Perspective

AUTHOR(S)
Elkins, James
PUB. DATE
June 1987
SOURCE
Art Bulletin;Jun87, Vol. 69 Issue 2, p220
SOURCE TYPE
Academic Journal
DOC. TYPE
Article
ABSTRACT
Presents a proof for construzione legittima, an Italian Renaissance treatise on linear perspective in art by Leonis Baptiste Alberti, found in Book I of 'De prospectiva pingendi,' by Alberti Piero della Francesca. Annotation and translation of the lacunae of the proof; Role of optics in a science predicated upon vision; Reasons behind Piero's recording of the proof; Contact of Piero with artist Leonis Baptiste Alberti.
ACCESSION #
5315866

 

Related Articles

  • Leon Battista Alberti: Some biographical implications of the winged eye. Schneider, Laurie // Art Bulletin;Jun90, Vol. 72 Issue 2, p261 

    Examines the literary themes of art writer Leon Battista Alberti. Iconography of his winged-eye emblem; Interpretation on the adoption of the name Leo in the light of his preoccupation with the eye of the father.

  • On Alberti's `sign': Vision and composition in quattrocento painting. Greenstein, Jack M. // Art Bulletin;Dec97, Vol. 79 Issue 4, p669 

    Investigates the philosophical and optical sources for painter Leon Battista Alberti's commentary on the vision and composition in painting. Alberti's conception of painting; Two pictorial works discussed by Alberti; Alberti's visual standard for the polarization styles in Florentine painting.

  • Painting, Alberti and the wisdom of Minerva. Wilde, Carolyn // British Journal of Aesthetics;Jan1994, Vol. 34 Issue 1, p48 

    Explores some aspects of the relationship between the intellect, the senses, and the sensual in the art of painting. Focus on a passage from Leon Battista Alberti's 1435 treatise on painting; Rules for the construction of pictorial space in accordance with the principles of mathematical...

  • Alberti and Antiquity: Additional Observations. Lehmann, Phyllis Williams // Art Bulletin;Sep88, Vol. 70 Issue 3, p388 

    Discusses the church façades of S. Maria Novella in Florence and S. Sebastiano in Mantua, Italy. Influence of the Baptistery of S. Giovanni and of S. Miniato al Monte on S. Marian Novella; Design of the façades; Importance of the church façades of Leon Battista Alberti in the history...

  • The Depictional Semiotic of Alberti's On Painting. Cameron, Eric // Art Journal;Sep75, Vol. 35 Issue 1, p25 

    Focuses on Leon Battista Alberti's treatise entitled 'On Painting,' which enshrines the tensions of the language of pictures. Initiation of a dialectic whose resolution leads one to the threshold of modern art; Alberti's exhortation of the artist to virtue; Explanation of the art of painting...

  • Contrapposto: Style and Meaning in Renaissance Art. Summers, David // Art Bulletin;Sep77, Vol. 59 Issue 3, p336 

    Examines the style and meaning of the Torso of Belvedere and the torso of Discobolos that was discovered in the Campo dei Fiori. Information on the Torso of Belvedere; Similarity between the torsos; Assessment on the painting of Leon Battista Alberti.

  • Alberti on Florence Cathedral. Lawson, James // Word & Image;Oct-Dec2002, Vol. 18 Issue 4, p332 

    Presents the views of architect Leon Battista Alberti on the Florence Cathedral in Italy. Aspects of material craftsmanship, utilitarian provision and disinterested beauty imbued within architecture; Moral character of architecture; Implications on verbal and visual enquiry.

  • Un abrégé de la pensée de Leon Battista Alberti en langue vernaculaire: les Sentenze pitagoriche. Paoli, Michel // Renaissance & Reformation/Renaissance et Reforme;Winter2002, Vol. 26 Issue 1, p41 

    The purpose of this article is to analyze a short, little-known—yet notably rich—work of Leon Battista Alberti, in order, first, to grasp its relations to its classical model, the pseudo-Pythagorean Golden Verses, as well as to the rest of Alberti's writing, and then to determine...

  • 'Rules for Design': Beauty and Grace in Caroso's Choreographies. Nevile, Jennifer // Dance Research;Winter2007, Vol. 25 Issue 2, p107 

    This article examines the changes Fabritio Caroso made to his choreographies from his first treatise Il ballarino (1581) to those from his second, Nobiltà di dame (1600), as well as the terms Caroso used to refer to these changes and the significance that these terms had for him. While modern...

Share

Read the Article

Courtesy of THE LIBRARY OF VIRGINIA

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics