Razlika med površinsko in globinsko geometrijo v slikarstvu

diplomsko delo

Lavra Ambrož (Author), Jurij Selan (Mentor)

Abstract

Umetnost že od nekdaj temelji na geometrijskih likih. Najdemo jih še posebej v arhitekturi, vendar pa je geometrija hkrati osnova za vsako risbo, sliko ali kip. Umetnost je tako precej tesno povezana z matematiko. Uporabljajo se števila, še posebej pa geometrija. V slikarstvu se ta uporablja kot podlaga za kompozicijo; najdemo jo v obliki perspektive, zlatega reza, glasbenih razmerij, pravila tretjin ..., lahko pa jo najdemo tudi v obliki geometrijskih likov, kot je krog, trikotnik, kvadrat ali elipsa. Vprašanje, ki se pojavi, pa je, kje se ta geometrija opazi in kje je prikrita. Nekatere slike namreč temeljijo na geometriji, kar se odraža tudi na njihovi površini (npr. Piet Mondrian), druge sicer spet temeljijo na geometriji, a je njihova površinska struktura precej abstraktna (npr. De Kooning), tretje pa so na videz sicer geometrijske, a je njihova osnova nekaj povsem običajnega in negeometrijskega, liki na sliki pa razporejeni popolnoma naključno (npr. Kazimir Malevich). Tako lahko razlikujemo med globinsko in površinsko geometrijo v slikarstvu in tem, kako se neka kompozicijska postavitev, ki jo narekuje globinska geometrija, odraža na površju slike, tj. v obliki površinske geometrije.

Keywords

zlati rez;geometrijski liki;krog;kvadrat;globinska geometrija;površinska geometrija;

Data

Language:	Slovenian
Year of publishing:	2017
Typology:	2.11 - Undergraduate Thesis
Organization:	UL PEF - Faculty of Education
Publisher:	[L. Ambrož]
UDC:	75:514(043.2)
COBISS:	11724617
Views:	601
Downloads:	154
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	The difference between surface and depth geometry in painting
Secondary abstract:	From the very beginning painting and all the other forms of art bases on geometry. Mostly it is found in architecture, but is also a base for every drawing, painting or a statue. This is why art is closely connected to mathematics. It uses numbers and especially geometry. In painting it is used as a base for a composition and is found in form of a perspective, golden ratio, musical consonances, rule of thirds ... or can also show in forms of geometric shapes, such as circle, triangle, square or an ellipse. The question that appears is, where this geometry pops up and where it hides in a painting. Indeed some paintings are based on geometry what shows also on their surface (for example Piet Mondrian), the others are again based on geometry, but their surface structure shows as very abstract (for example De Kooning), whereas the third look like geometric paintings, but their depth does not hide anything of a geometry and is actually quite simple and the structures on the painting's surface put in no order (for example Kazimir Malevich). Therefore we can distinguish between depth and surface geometry in painting and how a composition, dictated by depth geometry, shows up on the surface of the painting in form of surface geometry.
Secondary keywords:	geometry;painting;geometrija;slikarstvo;
File type:	application/pdf
Type (COBISS):	Bachelor thesis/paper
Thesis comment:	Univ. v Ljubljani, Pedagoška fak., Oddelek za likovno pedagogiko
Pages:	[81] str.
ID:	10865621