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- W1562589989 abstract "The invention of pictorial perspective in the Italian Renaissance depended upon the incorporation of the idea of distance within painting. That distance found two expressions. The first, more obvious and well-known, involved the technical questions of how to mathematisize represented relations among objects. Renaissance theorists thought they had solved the problem of the rationalization of and ended the debate on the portrayal of visual fact.1 There have since been sceptical objections to this confidence, and I shall address such objections shortly. But I wish to mention the second expression of distance within painting before I undertake that topic. Although Alberti, for example, seemed most innovative in his technical expositions, he was not concerned solely with the accurate translation of images. Once pictures became realistic, their purpose was not fulfilled. The vividness and authenticity of the represented objects served another end—that of the picture's significance or istoria. This second distance between image and thought presented a conceptual distance that opened the painting to a discursive reading and proper understanding. I will return to the importance of this second and conceptual space later in this paper. Realistic representations of figures and buildings appear in the works of Giotto, but they are illusionistic fragments in an unincor" @default.
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- W1562589989 date "1976-01-01" @default.
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- W1562589989 title "Reason Dazzled: Perspective and Language in Dryden's Aureng-Zebe" @default.
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