Week 1
Perspective versus axonometry
References
Lesson 1- The geometrical and cultural roots of linear perspective
- Panofsky, E. (1996). Perspective as Symbolic Form, Zone Book, Brooklyn, New York.
- Scolari, M., (2012). Oblique Drawing. A History of Anti-Perspective, The MIT Press, Cambridge, Massachusetts.
Lesson 2–Projective Foundations of Linear Perspective
- Montague, J. (2013). Basic Perspective Drawing: A Visual Approach, Wiley, Hoboken, NJ: 40-78.
- Kemp, M. (1992) The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale, Yale University Press.
Week 2
Lesson 1- Projective Foundations of Axonometrical View
- Montague, J. (2013). Basic Perspective Drawing: A Visual Approach, Wiley, Hoboken, NJ: 29-39.
Between Shadows and Light
Lesson 2– Theory and History of Shadows's Projection (I)
- Stoichita, V. (2013). Short History of the Shadow, Reaktion Books, London: Ist chapter.
- Gombrich, E. (1995). Shadows: The Depiction of Cast Shadows in Western Art, National Gallery, London.
Week 3
Lesson 1– Theory and History of Shadows's Projection (II)
- Bauer, G. (1987). Experimental Shadow Casting and the Early History of Perspective, in "Art Bullettin", vol. LXIX, June.
Lesson 2- Theory and History of Shadows's Projection (III)
- Da Costa Kaufmann, T. (1975). The Perspective of Shadows: The History of the Theory of Shadow Projection, in “Journal of the Warburg and Courtauld Institutes”, Vol. 38: 258-287.
Week 4
A-perspectival representation in Far East Figurative Art
Lesson 1–Delete the senses
- De Rosa, A. (1998). L' infinito svelato allo sguardo. Forme della rappresentazione estremo orientale, Milan, Città Studi: 1st chapter.
Lesson 2– Images without limits
- De Rosa, A. (1998). L' infinito svelato allo sguardo. Forme della rappresentazione estremo orientale, Milan, Città Studi: 2nd chapter.
-Wells, W.H.(1935). Perspective in early Chinese Painting, London, E. Coldston.
Week 5
Lesson 1– At the edge of the shadow
- De Rosa, A. (1998). L' infinito svelato allo sguardo. Forme della rappresentazione estremo orientale, Milan, Città Studi: 3rd chapter.
Junichiro, T. (2001). In Praise Of Shadows, new edition, London, Vintage Classics.
- Glum, P.(1981-82). Light without shade, I, in "Oriental Art" n°4, Winter
- Glum, P.(1982). Light without shade, II, in "Oriental Art" n°1, Spring.
Assignment of 1st individual exercise: comparative study of two pictorial images (one from Renaissance’s pictorial tradition, and the other from Far East’s one) freely chosen by the student.
The art of light and space
Lesson 2–Another Horizon: James Turrell’s light installations (I)
- De Rosa, A. (2006). James Turrell/Geometrie di Luce/Roden Crater Project, Electa, Milan. - Sinnreich U., edited by (2009). James Turrell: Geometry of Light, Ostfildern, Hatje Cantz.
Week 6
Lesson 1–Another Horizon: James Turrell’s light installations (II)
- De Rosa, A. (2006). James Turrell/Geometrie di Luce/Roden Crater Project, Electa, Milan.
- Sinnreich U., edited by (2009). James Turrell: Geometry of Light, Ostfildern, Hatje Cantz.
Delivery of 1st individual exercise.
Lesson 2–A Dawn in the Void: The Roden Crater Project (I)
- De Rosa, A. (2006). James Turrell/Geometrie di Luce/Roden Crater Project, Electa, Milan.
- Govan, M., edited by (2013). James Turrell: A Retrospective, New York and London, Prestel USA,
Week 7
Lesson 1– A Dawn in the Void: The Roden Crater Project (I)
- De Rosa, A. (2006). James Turrell/Geometrie di Luce/Roden Crater Project, Electa, Milan.
- Govan, M., edited by (2013). James Turrell: A Retrospective, New York and London, Prestel USA,
The Vertigo of Sight
Lesson 2–The Secrets of Anamorphosis
- De Rosa, A., D’Acunto, G. (2002). La vertigine dello sguardo. Tre saggi sulla rappresentazione anamorfica, Venezia, Libreria Editrice Cafoscarina: 1st chapter.
- Massey, L. (2007). Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective, University Park, PA, Penn State University Press.
Week 8
Lesson 1– Small visual mazes
- De Rosa, A., D’Acunto, G. (2002). La vertigine dello sguardo. Tre saggi sulla rappresentazione anamorfica, Venezia, Libreria Editrice Cafoscarina: 2nd chapter.
-Kemp, M. (1992). The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale, Yale University Press.
Assignment of 2nd individual exercise: comparative study (i.e. paper) of two essays:
1) Plummer, H. (1987). Poetics of Light, in “A+U”, Tokyo December.;
2) Junichiro, T. (2001). In Praise Of Shadows, new edition, London, Vintage Classics.
Maximum length: 10 pages (excluding the illustrations).
Research papers must include bibliographical references and notes.
Lesson 2– Steps into Infinity: the Twins Anamorphic Corridors at Trinità dei Monti (Rome)
- De Rosa, A., (2013). Jean François Nicéron. Prospettiva, catottrica e magia artificiale, Rome, Aracne.
Midterm Break Week
Week 9
Comparing East and West: some case studies
Lesson 1–Guest lecture: Angkor Vat and its Cosmogonic Architecture.
Delivery of 2nd individual exercise.
Week 10
Lesson 1–Guest lecture: Forms of landscape representation between East and West.
Lesson 2 -Guest lecture: The Observatory by Maharaja Sawai Jai Singh (Jaipur, India).
Week 11
Lesson 1–Guest lecture: History of Perspective through Ideal Cities.
Lesson 2 -Guest lecture: Frank Lloyd Wright and the Far East.
Week 12
Lesson 1– paper discussion and readings
Lesson 2–paper discussion and readings.
Exam week
-AA.VV., VIA/Architecture and Shadow, #11, Philadelphia 1990
-Aromberg Levin, M., Piero della Francesca: The Flagellation, New York 1972.
-Bauer, G., Experimental Shadow Casting and the Early History of Perspective, in "Art Bullettin", vol. LXIX, June 1987
-Baxandall, M., Shadows and Enlightenment, New Haven e London 1995.
-Clunas, C., Pictures and Visuality in Early Modern China, London 1997
-Fong, M., The technique of 'chiaroscuro' in Chinese Painting from Han through T'ang, in "Artibus Asiae", XXXVIII, 2/3, Ascona 1976
-Glum, P., Light without shade, I, in "Oriental Art" n°4, Winter 1981/82
-Glum, P., Light without shade, II, in "Oriental Art" n°1, Spring 1982
-Gombrich, E. H., Shadows/The depiction of cast shadows in western art, London 1995.
-Hung, W., The Double Screen/Medium and Representation in Chinese painting, London 1996
-Inoue, M., Space in Japanese Architecture, New York/Tokyo, 1985
-Isozaki, A., 'Ma': Japanese Time-Space, in "JA", Tokyo February 1979
-Itoh, T., Space and Illusion in the Japanese Garden, New York-Tokyo & Kyoto, 1977
-Kemp, M., The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale 1992
-Maeda, R. J., Spatial Enclosures: the Idea of lnterior Space in Chinese Painting, in "Oriental Art" #4, Fall 1985/86
-Maki, F., Japanese City Spaces and the Concept of Oku, in "JA", Tokyo May 1979
March, B., A Note on Perspective in Chinese Painting, in "The China Journal", VII/2, August 1929
-March, B., Linear Perspective in Chinese Painting, in "Eastrn Art" n°3, Philadelphia 1931
-Needham, J., Wang, L., Lo Gwey, D., voice Perspective, in AA.VV., "Science and Civilization in China", vol. IV, Cambridge 1971
-Nietschke, G., From Shinto t o Ando/Studies in Architectural Anthropology in Japan, London-Berlin 1993
-Scolari, M., Oblique Drawing: A History of Anti-Perspective, Cambridge Mass. 2012
-Wells, W.H., Perspective in early Chinese Painting, London 1935