Search results for: Baroque.

Authors: Matthias Stange

Abstract:

In the early modern period, a different image of man began to prevail in Europe. The focus was on the self-determined human being and his abilities. At first, these developments could be seen in Italian painting and architecture, which again oriented itself to the concepts and forms of antiquity. For example, through the discovery of perspective representation by Brunelleschi or later the orthogonal projection by Alberti, after the ancient knowledge of optics had been forgotten in the Middle Ages. The understanding of reality in the Middle Ages was not focused on the sensually perceptible world, but was determined by ecclesiastical dogmas. The empirical part of this study examines the rediscovery and development of perspective. With the paradigm of antiquity, the figure of the architect was also recognised again - the cultural man trained theoretically and practically in numerous subjects, as Vitruvius describes him. In this context, the role of the architect, the influence on the painting of the Quattrocento as well as the influence on architectural representation in the Baroque period are examined. Baroque is commonly associated with the idea of illusionistic appearance as opposed to the tangible reality presented in the Renaissance. The study has shown that the central perspective projection developed by Filippo Brunelleschi enabled another understanding of seeing and the dissemination of painted images. Brunelleschi's development made it possible to understand the sight of nature as a reflection of what is presented to the viewer's eye. Alberti later shortened Brunelleschi's central perspective representation for practical use in painting. In early modern Italian architecture and painting, these developments apparently supported each other. The pictorial representation of architecture initially served the development of an art form before it became established in building practice itself.

Keywords: Alberti, Brunelleschi, Central perspective projection, Orthogonal projection, Quattrocento, Baroque.

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Authors: Svetlana Perović, Svetislav Popović

Abstract:

Aspect of visual perception occupies a central position in shaping the physical structure of a city. This paper discusses the visual characteristics of utopian cities and their impact on the shaping of real urban structures. Utopian examples of cities will not be discussed in terms of social and sociological conditions, but rather the emphasis is on urban utopias and ideal cities that have achieved or have had potential impact on the shape of the physical structure of Nikšić. It is a Renaissance-Baroque period with a touch of classicism. The paper’s emphasis is on the physical dimension, not excluding the importance of social equilibrium, studies of which are dating back to Aristotle, Plato, Thomas More, Robert Owen, Tommaso Campanella and others. The emphasis is on urban utopias and their impact on the development of sustainable physical structure of a real city in the context of visual perception. In the case of Nikšić, this paper identifies the common features of a real city and a utopian city, as well as criteria for sustainable urban development in the context of visual achievement.

Keywords: Physical Structure of Nikšić, Utopia and Ideal City, Visual Perception.

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