Ombres et transparences, de Vinci aux calques numériques
Shadows, which are a form of imitation, combine contiguity and similarity. Sfumato as recommended by Leonardo, shadows ‘explaining’ objects according to Hogarth, entail contextualisation; they imply partial transparency, still required in digital image settings. Optical devices have since the Renais...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2012-01-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/2788 |
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| _version_ | 1832578607770238976 |
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| author | Marie-Madeleine Martinet |
| author_facet | Marie-Madeleine Martinet |
| author_sort | Marie-Madeleine Martinet |
| collection | DOAJ |
| description | Shadows, which are a form of imitation, combine contiguity and similarity. Sfumato as recommended by Leonardo, shadows ‘explaining’ objects according to Hogarth, entail contextualisation; they imply partial transparency, still required in digital image settings. Optical devices have since the Renaissance superimposed shadow and transparency; they have evolved from image-making to the continuous representation of motion in 19th-century toys based on the rotation of silhouettes; copying machines, derived from ancient legends defining shadows as the image of persons, led to 18th-century experiments in the simulation of motion. Studies of reflexion ranged from mirror-images to sets of multiple contiguous spots of light; form/texture relationships changed over the centuries from the gradual recomposition of motifs – as in multiple-colour printing– to decomposition –as in camouflage. In the theme of windows within paintings, transparency shifted from analogous infinite regress effect to contextualisation; 20th-century models of geometrical forms suppressed the interior-exterior distinction as they became glass volumes. |
| format | Article |
| id | doaj-art-da2cbbfba1424df5a5344f640d5133a2 |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2012-01-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-da2cbbfba1424df5a5344f640d5133a22025-01-30T13:46:44ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022012-01-011410.4000/sillagescritiques.2788Ombres et transparences, de Vinci aux calques numériquesMarie-Madeleine MartinetShadows, which are a form of imitation, combine contiguity and similarity. Sfumato as recommended by Leonardo, shadows ‘explaining’ objects according to Hogarth, entail contextualisation; they imply partial transparency, still required in digital image settings. Optical devices have since the Renaissance superimposed shadow and transparency; they have evolved from image-making to the continuous representation of motion in 19th-century toys based on the rotation of silhouettes; copying machines, derived from ancient legends defining shadows as the image of persons, led to 18th-century experiments in the simulation of motion. Studies of reflexion ranged from mirror-images to sets of multiple contiguous spots of light; form/texture relationships changed over the centuries from the gradual recomposition of motifs – as in multiple-colour printing– to decomposition –as in camouflage. In the theme of windows within paintings, transparency shifted from analogous infinite regress effect to contextualisation; 20th-century models of geometrical forms suppressed the interior-exterior distinction as they became glass volumes.https://journals.openedition.org/sillagescritiques/2788illusionshadowtransparencyoptical devicephenakistiscopesilhouette |
| spellingShingle | Marie-Madeleine Martinet Ombres et transparences, de Vinci aux calques numériques Sillages Critiques illusion shadow transparency optical device phenakistiscope silhouette |
| title | Ombres et transparences, de Vinci aux calques numériques |
| title_full | Ombres et transparences, de Vinci aux calques numériques |
| title_fullStr | Ombres et transparences, de Vinci aux calques numériques |
| title_full_unstemmed | Ombres et transparences, de Vinci aux calques numériques |
| title_short | Ombres et transparences, de Vinci aux calques numériques |
| title_sort | ombres et transparences de vinci aux calques numeriques |
| topic | illusion shadow transparency optical device phenakistiscope silhouette |
| url | https://journals.openedition.org/sillagescritiques/2788 |
| work_keys_str_mv | AT mariemadeleinemartinet ombresettransparencesdevinciauxcalquesnumeriques |