Parametre
- 64 stránok
- 3 hodiny čítania
Viac o knihe
Since the principles of perspective were first demonstrated in Renaissance Italy, the interpretation of depth and space has held a central place in Western art. From the 15th century onwards, artists have endeavoured to present three-dimensional images that are as close as possible to what we actually see. When the Italian artist Alberti published his geometrical method for re-creating accurate perspectives, he transformed the art world, and led artists such as Leonardo da Vinci to produce ever more life-like illusions of space and distance. In the 20th century, artists such as Picasso often rejected classical principles in favour of distorted viewpoints.
Nákup knihy
Eyewitness Guides - 98: Perspective, Alison Ambrose, Alison Cole
- Jazyk
- Rok vydania
- 1992
- product-detail.submit-box.info.binding
- (pevná),
- Stav knihy
- Veľmi dobrá
- Cena
- 6,99 €
Platobné metódy
Nikto zatiaľ neohodnotil.
- Titul
- Eyewitness Guides - 98: Perspective
- Podtitul
- Discover the Theory and Techniques of Perspective, from the Renaissance to Pop Art
- Jazyk
- anglicky
- Autori
- Alison Ambrose, Alison Cole
- Vydavateľ
- Dorling Kindersley
- Rok vydania
- 1992
- Väzba
- pevná
- Počet strán
- 64
- ISBN10
- 0751361534
- ISBN13
- 9780751361537
- Série
- Štítky
- Náučná literatúra, Umenie & Kultúra, Výtvarné umenie, Maľba & Sochárstvo, Umenie, Katalógy výstav, Teória & Dejiny umenia, Dejiny umenia
- Anotácia
- Since the principles of perspective were first demonstrated in Renaissance Italy, the interpretation of depth and space has held a central place in Western art. From the 15th century onwards, artists have endeavoured to present three-dimensional images that are as close as possible to what we actually see. When the Italian artist Alberti published his geometrical method for re-creating accurate perspectives, he transformed the art world, and led artists such as Leonardo da Vinci to produce ever more life-like illusions of space and distance. In the 20th century, artists such as Picasso often rejected classical principles in favour of distorted viewpoints.


