The visual dimension of architecture in Early Modern painting. Architecture is a central theme of Renaissance painting. To foster the increasingly refined invention of architectural compositions and urban views was the spread of the rules of perspective drawing that imposed on painters the acquisition of graphic and theoretical skills traditionally owned by the architects. In terms of drawing techniques, painters had to learn how to draw orthogonal projections, the graphic method used by architects to represent in two dimensions the three-dimensionality of buildings. On the theoretical level they had to acquire the knowledge handed down by Vitruvius to learn how to dominate symmetries and proportions, ornaments and structural elements.
While favoring the visual dimension of architecture, painters had to learn how to design like architects.
Dr MP Thompson - Durham University
Painted architecture was not approximate, as in the Middle Ages, but 'possible', measured and proportionate to man's height. In view of the imminent celebrations for the five hundredth anniversary of the death of Raphael - one of the greatest painter-architects of the Modern age - this dossier proposes a deepening of the architectural culture of painters in order to highlight the levels of knowledge, the theoretical sources, the practical knowledge, the relationships of collaboration between painters and architects, the elements that allow us to recognize in the diffusion of linear perspective a strong element of cultural renewal of the pictorial profession.
Without forgetting that in some cases, like in the famous ideal cities or in wooden inlayed panels, architecture is the only subject of pictorial composition. Please circulate this Call for Papers widely. Once you have registered and consulted the submission guidelines, please send your proposal on our online journal platform:. If you have any enquiries, please contact the journal editor, Inmaculada Vivas, serie7.
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