The drawing of the ellipse in the painting until Caravaggio
[EN] The circle is present in a great number of elements in our environment. As it has to be seen in perspective, is perceived by the eye as a perfect ellipse, one can assure that the latter is the most frequent in architecture, art and engineering. Besides, apart from other geometry simple forms, i...
| Autores: | , , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2020 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/139166 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/139166 |
| Access Level: | acceso abierto |
| Palabra clave: | Pintura Perspectiva Elipse Geometría Caravaggio Painting Perspective Ellipse Geometry |
| Sumario: | [EN] The circle is present in a great number of elements in our environment. As it has to be seen in perspective, is perceived by the eye as a perfect ellipse, one can assure that the latter is the most frequent in architecture, art and engineering. Besides, apart from other geometry simple forms, its drawing even using tools as compasses or templates, conveys an important complexity. To revise the innumerable quantity of ellipses that have been drawn and painted since ancient times, confirms that making the as it should be, free handed, is practically impossible.The article studies the drawing of the ellipse in the western art until the xvii century. It starts from the Giotto’s experiences and studies on Durero’s chronicles to eventually analyse as a representative selection of painters (Campin, Leonardo or Raphael) who faced the issue without managing to resolve it, unlike Caravaggio who, in a way, was the only one to achieve it (Figs 1 and 2). |
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