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

Czech

Mode of study

Not applicable.

Guarantor

Mgr. et. Mgr. Petr Ingerle

Department

Department of Art History and Theory (KTDU)

Learning outcomes of the course unit

Profound knowledge of linear perspective iconography.

Prerequisites

Extensive and profound knowledge of art theory, philosophy, and general history.

Co-requisites

Not applicable.

Planned learning activities and teaching methods

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Assesment methods and criteria linked to learning outcomes

Oral exam.

Course curriculum

- "Perspectiva naturalis"/ "prospettiva artificialis", perspective as a metaphor and symbolic structure
- 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

Not applicable.

Aims

Students will acquire knowledge of linear perspetive iconography.

Specification of controlled education, way of implementation and compensation for absences

Lectures, tutorials.

Recommended optional programme components

Not applicable.

Prerequisites and corequisites

Not applicable.

Basic literature

Alberto Péréz-Gómez a Louise Pelletier, Architectural Representation and the Perspective Hinge, Cambridge-Massachusetts-London 1997
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

Type of course unit

Lecture

13 hod., optionally

Teacher / Lecturer

Mgr. et. Mgr. Petr Ingerle

VUT

Faculties

University Institutes

Parts

The Linear Perspective Iconographies - winter

Type of course unit