Scribd Logo
Upload

Welcome to Scribd!

  • 15 views

    Paolo Di Dono Known As Paolo Uccello

    Uploaded by

    allie
    Excerpt.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd

    Paolo Di Dono Known As Paolo Uccello

    Uploaded by

    allie
    15 views2 pages
    Excerpt.

    Original Title

    Paolo di Dono known as Paolo Uccello

    Copyright

    © © All Rights Reserved

    Available Formats

    DOCX, PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Excerpt.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    15 views2 pages

    Paolo Di Dono Known As Paolo Uccello

    Uploaded by

    allie
    Excerpt.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    You are on page 1of 2

    Paolo di Dono known as Paolo Uccello 

    (1397/1475) [attributed], Prospective study of a chalice

    Technique and material: stylus, pen and ink on paper. Measurements: 349 x 243 mm

    Reale Galleria degli Uffizi, Florence


    Quotation from Uffizi website https://euploos.uffizi.it/scheda-catalogo.php?invn=1758+A

    “Although plausible, the traditional attribution to Paolo Uccello is far from certain. Alessandro
    Parronchi (1964) proposed ascribing the work to Piero della Francesca, who had made,
    according to Vasari's testimony, "a vase in a drawn way with squares and faces that can be seen
    in front, behind and from the sides, the bottom and the mouth "Note. Author of the first manual
    for perspective drawing, the 'De prospectiva pingendi', Piero was also deeply involved in issues
    relating to the science of representation, although with a different nature from Paul's visionary
    and abstracting temperament. [….] Beyond the correct attribution, difficult to define given the
    lack of documentary data or stylistic elements to refer to, the drawing is representative of the
    new mental attitude that affirmed itself during the fifteenth century. It is a question of that
    tension towards the re-evaluation of the human intellect that accompanied the exercise of
    rationality in all its expressions: in this sense the knowledge of the structure of things,
    intrinsically united with their visible aspect, constituted the privileged [or: preferred] vehicle for
    the investigation of the nature of the world and the organization of forms and space, in
    connection with the highest ordering principles of the Universe. The idea of a "reticular" glass
    stems from the challenge of reproducing a volume in perspective on the two-dimensional sheet:
    we are not dealing with the representation of a concrete entity, but rather with the autonomous
    construction of an object in itself, obtained through a geometric analysis that determines it as
    pure volume in space. The glass is broken down into over two thousand points identified with a
    system of spatial coordinates: from their joining the surface of the solid is reconstituted. As a
    trace of the process of constructing the image, the engraved furrows remain on the sheet,
    visible in oblique light, which act as guidelines to correctly outline and coordinate the succession
    of each segment. Regardless of any idea of transposition into a painting, the 'Chalice' represents
    an operation of analysis and synthesis, of abstraction from matter and of its conceptual order,
    an example of the Renaissance union between scientific and artistic culture. (MM Rook in
    Florence 2011)”

    You might also like