Color and perspective in Late Classical painting
The concept of a central perspective, as invented in the Early Renaissance, is unknown in ancient Greek painting. There is no visualization of space either in archaic images, where the figures stand on a continuous ground line, or in early classical ones, when a specific art of perspective (body per...
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| الحاوية / القاعدة: | URI:https://journals.openedition.org/techne, |
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| المؤلف الرئيسي: | |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Anglais |
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Technè
2020
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| الموضوعات: | |
| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:techne_2178 |
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openedition |
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openedition-oai:revues.org:techne_2178 https://doi.org/10.4000/techne.2178 urn:doi:10.4000/techne.2178 en https://journals.openedition.org/techne/2178 2020-09-10T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/l8hr https://creativecommons.org/licenses/by-nc-nd/4.0/ Color and perspective in Late Classical painting Technè C2RMF info:eu-repo/semantics/reference/issn/2750-6185 info:eu-repo/semantics/reference/issn/1254-7867 URI:https://journals.openedition.org/techne Walter-Karydi, Elena perspective centrale perspective corporelle perspective corporelle améliorée perspective corporelle vue par en dessous perspective chromatique central perspective body perspective enhanced body perspective body perspective viewed from below color perspective The concept of a central perspective, as invented in the Early Renaissance, is unknown in ancient Greek painting. There is no visualization of space either in archaic images, where the figures stand on a continuous ground line, or in early classical ones, when a specific art of perspective (body perspective) is invented and the figures, in contrapposto postures, may stand on ground lines placed at various heights but are still not coordinated in size. Shortly after the middle of the 4th century, there appear new pictorial means: enhanced body perspective, often combined with a ground surface, viewed-from-below body perspective and color perspective. Even with these revolutionary innovations, no space as such comes into being in Greek painting; perspective appears only as applied to bodies. La notion de perspective centrale, inventée à la première Renaissance, est inconnue dans la peinture grecque antique. Il n’existe aucune illusion de profondeur dans les images archaïques, où les personnages se tiennent côte à côte sur une même ligne de sol, ni dans celles du début de l’époque classique, où apparaît un art perspectif bien particulier (la perspective corporelle), avec des personnages déhanchés qui peuvent se répartir sur plusieurs lignes de sol, à des hauteurs différentes, mais sans aucune cohérence des dimensions. Peu après le milieu du ive siècle, les peintres se dotent de nouveaux moyens : perspective corporelle améliorée, souvent associée à une représentation de la surface du sol, perspective corporelle vue par en dessous et perspective chromatique. Malgré ces innovations révolutionnaires, on ne trouve aucune organisation de l’espace à proprement parler dans la peinture grecque, où la perspective reste limitée au corps humain. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
perspective centrale perspective corporelle perspective corporelle améliorée perspective corporelle vue par en dessous perspective chromatique central perspective body perspective enhanced body perspective body perspective viewed from below color perspective |
| spellingShingle |
perspective centrale perspective corporelle perspective corporelle améliorée perspective corporelle vue par en dessous perspective chromatique central perspective body perspective enhanced body perspective body perspective viewed from below color perspective Walter-Karydi, Elena Color and perspective in Late Classical painting |
| description |
The concept of a central perspective, as invented in the Early Renaissance, is unknown in ancient Greek painting. There is no visualization of space either in archaic images, where the figures stand on a continuous ground line, or in early classical ones, when a specific art of perspective (body perspective) is invented and the figures, in contrapposto postures, may stand on ground lines placed at various heights but are still not coordinated in size. Shortly after the middle of the 4th century, there appear new pictorial means: enhanced body perspective, often combined with a ground surface, viewed-from-below body perspective and color perspective. Even with these revolutionary innovations, no space as such comes into being in Greek painting; perspective appears only as applied to bodies. |
| author |
Walter-Karydi, Elena |
| author_facet |
Walter-Karydi, Elena |
| author_sort |
Walter-Karydi, Elena |
| title |
Color and perspective in Late Classical painting |
| title_short |
Color and perspective in Late Classical painting |
| title_full |
Color and perspective in Late Classical painting |
| title_fullStr |
Color and perspective in Late Classical painting |
| title_full_unstemmed |
Color and perspective in Late Classical painting |
| title_sort |
color and perspective in late classical painting |
| publisher |
Technè |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/techne |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/techne.2178 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/techne/2178 |
| _version_ |
1877293908800569344 |