Riassunto
Leonardo da Vinci characterized chiaro e scuro as an invention in the art of painting, to depict the illusion of volumes in space.57 His conception referred to the gradation effected from the light to the shadowed side of a three-dimensional object, as a development of a range of grays, arising from his observation of their placement or distribution relative to their surfaces. That both the term and the visual structure it defines have endured is testament to the “truth” of the discovery.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Allport, Theories of Perception and Concept of Structure.
Swirnoff, Spatial Aspects of Color.
A.L. Loeb, Color and Symmetry (New York: Wiley, 1971). In collaboration with the author in a section of “Dimensional Color,” at Harvard.
The Art Building at Skidmore College, Saratoga Springs, N.Y., 1980.
James Watson and Francis Crick, The Double Helix (New York: Norton, 1980) In the personal and anecdotal account of the Nobel-winning discovery of the structure of DNA, the ability to play and imagine is demonstrated on a highly sophisticated level.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 1989 Springer Science+Business Media New York
About this chapter
Cite this chapter
Swirnoff, L. (1989). Chiaro e Scuro Inverted. In: Dimensional Color. Design Science Collection. Birkhäuser, Boston, MA. https://doi.org/10.1007/978-1-4757-2073-0_8
Download citation
DOI: https://doi.org/10.1007/978-1-4757-2073-0_8
Publisher Name: Birkhäuser, Boston, MA
Print ISBN: 978-1-4757-2075-4
Online ISBN: 978-1-4757-2073-0
eBook Packages: Springer Book Archive