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The Dynamic Eye: Anamorphosis and Beholder between XVI and XVII Centuries

The Dynamic Eye: Anamorphosis and Beholder between XVI and XVII Centuries

Giuseppe D'Acunto
Copyright: © 2016 |Pages: 36
ISBN13: 9781522500292|ISBN10: 1522500294|EISBN13: 9781522500308
DOI: 10.4018/978-1-5225-0029-2.ch016
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MLA

D'Acunto, Giuseppe. "The Dynamic Eye: Anamorphosis and Beholder between XVI and XVII Centuries." Handbook of Research on Visual Computing and Emerging Geometrical Design Tools, edited by Giuseppe Amoruso, IGI Global, 2016, pp. 367-402. https://doi.org/10.4018/978-1-5225-0029-2.ch016

APA

D'Acunto, G. (2016). The Dynamic Eye: Anamorphosis and Beholder between XVI and XVII Centuries. In G. Amoruso (Ed.), Handbook of Research on Visual Computing and Emerging Geometrical Design Tools (pp. 367-402). IGI Global. https://doi.org/10.4018/978-1-5225-0029-2.ch016

Chicago

D'Acunto, Giuseppe. "The Dynamic Eye: Anamorphosis and Beholder between XVI and XVII Centuries." In Handbook of Research on Visual Computing and Emerging Geometrical Design Tools, edited by Giuseppe Amoruso, 367-402. Hershey, PA: IGI Global, 2016. https://doi.org/10.4018/978-1-5225-0029-2.ch016

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Abstract

During the Sixteenth century, the studies about perspective reach an higher level of systematize, so high to open their field of action to geographical and astronomic representations: In the painting and ornamental art, especially, it start to use a different way of perspective technique more cunning and provocative, in agreement with the desire of contemporaneous artists and scientists to go beyond, across the limit of reality where ‘it shown only things that you can see' for a fresh look – physical and symbolic - to the Other from her- or himself, to a new and more exciting overlook in which “…the appearance eclipses the reality”. The more odd and bizarre aspects of the perspective rules' turn into the aim of research, where its interior laws are taken to an extreme level and are employed to verify the expressive prospect of the same technique, beyond any restitution of realistic appearance to the represented subject, organic or not. It is so the time of anamorphosis.

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