Key words to remember:
with brush techniques
with repetitive patterns
Knowledge and Constancy? Ambiguity
The cue Approach: A way to understand the process of going form 2D to 3D perception)
1. Alberti's Window: "I inscribe a quadrangle of right angles, as
large as I wish, which is considered to be an open window
through which I see what I want to paint."
The painter's panel is to be thought of as a window through which the painter views the
First Paragraph assignment
1. Albertis window is described as a quadrangle of right angles, as large as I
[Alberti] wishes, which is considered to be an open window through which I see
what I want to paint." In Lindergs text the visu
Solso Chapter 7:
A truly marvelous feast:
importance of locating the object.
Seeing a 3D world with a 2D eye:
use of cues to interpret the 3D image. 3D/2D/3D problem.
artist use perspective.
Ucello uses linear perspective among other techniques, draws sma
VLST WEEK 5 Reading notes:
1950 "Damned Busy Painting"
What differentiates Pollock is the character of the pictorial unity he creates.
"the sight of an image of space in which he does not exist" - feat of absolute
space as something material
I. Flagellation of Christ, Piero della Francesca:
In Piero della Francescas painting Flagellation of Christ, the painter makes great
use of the techniques of linear perspective. Applying the technique introduce
VLST 101: Color Problem Set (due Friday, Feb. 22, in section, hard copies only)
1. Attached to this assignment, you will find a set of three graphs. Using the values from graphs
A and B, construct a graph of luminance, or light incident to the eye, on gra
Visual Studies 101, Eye, Mind, Image
First paragraph assignment
Drawing on Lindberg, ch. 8 (pp. 14754), and Solso, ch. 7, write one paragraph each in
response to the following questions (two paragraphs in all):
1. What is the relation between