![]() ![]() ![]() To confirm this, the author proposes an approach implying that all the information fixed at the plane is considered to be a professional communicative means necessary for formation of space-dimensional representations in a human mind about a composition in the overall system of the drawing or the image. ![]() The author builds his point of view on the fact that the plane comprises only such structural elements of the existing composition, which clearly reveal its space-dimensional features when compared with each other. In order to show that the perspective was one of the artistic tools for him, the article presents the comparative analysis of one of Piranesi's engravings ("View of Basilica di San Paolo Fuori le Mura" from the series of "Views of Rome") with a perspective model made with the help of a SketchUp software, pictures of layouts and perspective views made with the help of an architect method (the method of the descriptive geometry). Here Piranesi's compositional solutions for his graphic works are compared to his predecessors and contemporaries' beautiful paintings carrying the same motif. The study is based on analyses of the composition of his engravings depicting architecture and space. Petersburg, Russia study is devoted to the recreation of Giovanni Battista Piranesi's compositional thinking. Saint Petersburg State University of Architecture and Civil Engineering Vtoraja Krasnoarmejskaja ul. PERSPECTIVE AS AN ARTISTIC TOOL OF COMPOSITION IN THE ENGRAVINGS BY GIOVANNI BATTISTA PIRANESI Due to the fact that the composition information on the object is broken into pieces and is represented by the system of interrelated orthographic views on the architectural design (on the drawing), in the article we tried to find out the implied logic and the pattern of information disclosure by Giovanni Battista Piranesi with the help of projection views. In order to confirm this hypothesis, the author carried out an analysis of the Pantheon drawings made by Andrea Palladio di Pietro and Giovanni Battista Piranesi. ![]() In order to show that the perspective was one of the artistic tools for him, the article presents the comparative analysis of one of Piranesi’s engravings (“View of Basilica di San Paolo Fuori le Mura” from the series of “Views of Rome”) with a perspective model made with the help of a SketchUp software, pictures of layouts and perspective views made with the help of an architect method (the method of the descriptive geometry). Here Piranesi’s compositional solutions for his graphic works are compared to his predecessors and contemporaries’ beautiful paintings carrying the same motif. This study is devoted to the recreation of Giovanni Battista Piranesi’s compositional thinking. These similarities distinguished the historical drawings from the red chalk mock-up drawings, except for the drawings made with red chalk samples from the area near the town of Theley, Germany, which were shown to bear close similarities to those in the cluster of historical samples.Аннотация научной статьи по строительству и архитектуре, автор научной работы - Chernaya Elena Subsequent FORS analysis of selected original drawings revealed the existence of several closely grouped clusters, implying similarities on the basis of the underlying spectral features among the historical red chalks used in Rome. The compositional differences of these reference chalks were confirmed by X-ray diffraction (XRD) and scanning electron microscopy (SEM). It was possible to sort these mock-up drawings according to chalk type and application technique. The method was tested on mock-up drawings made with recently acquired natural and synthetic red chalks of known origin. The evaluation of spectra was supported by principal component analysis (PCA). The viability of fiber optics reflectance spectroscopy (FORS) for the differentiation of red chalk drawing media was investigated, focusing on the group of drawings from the workshop of Giovanni Battista Piranesi (1720–1778) at the Staatliche Kunsthalle Karlsruhe, Germany. ![]()
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