Oblique Drawing. A History of Anti-perspective

It is easy that many of that read these lines associate the concept of perspective with the reading that of her Erwin Panofsky did in the mythical one The perspective as symbolic form. For years, the studies of visual representation have been dominated by Panofsky’s interpretations. It is not a bad sign that Massimo Scolari rescues in Oblique Drawing a vision much more wide that it discusses the hierarchy of the central perspective in the history.

Beginning for Panofsky and his famous “conferences” of the Institute Warburg, we can recover a fundamental idea: in the definition of the perspective of every epoch more importance has the conception of the world that the own visual perception.

This premise led to any type of visual representation, is shared by Scolari, who considers the images to be not alone as a form of art, but as a form of thought. As Panofsky, Scolari’s approximation to the visual and conceptual representation is an approximation to the philosophical and ideological manifestations of every culture.

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David H. Falagán

+ article is published in arquilectura

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Búsqueda para satisfacer el conocimiento de la actividad arquitectónica y tangentes que se generan. La idea es crear un espacio para divulgar los diversos proyectos en busca de nueva inspiración y de intercambio.

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