Show simple item record

Files in this item

Thumbnail

Item metadata

dc.contributor.authorRecktenwald, Olaf
dc.date.accessioned2015-08-28T15:22:01Z
dc.date.available2015-08-28T15:22:01Z
dc.date.issued2014-07-08
dc.identifier.citationRecktenwald, O. (2014). Vredeman de Vries: geometry and freedom. North Street Review: Arts and Visual Culture, 17, pp. 75-84.en_US
dc.identifier.issn2053-2024en_US
dc.identifier.urihttp://ojs.st-andrews.ac.uk/index.php/nsr/article/view/748en_US
dc.identifier.urihttp://hdl.handle.net/10023/7355
dc.description.abstractAs a result of his highly imaginative perspectival illustrations, late sixteenth-century Dutch architect Hans Vredeman de Vries remained at the pivot point of transferring perspectival developments from Italy to a northern European setting. He brought about a revolution in the genre of the architectural city-view, stood as a giant of that artistic category, and initiated a widespread architectural following that could be felt in buildings from every province of his home country to as far away as regional towns in Peru. This essay introduces the use of geometry in Vredeman’s illustrations from his 1604 treatise Perspective and gives an account of the meanings behind vantage points, picture planes, and the viewing subject in those representations. A commentary on the notion of repetition in perspectival vistas and an explanation of the significance surrounding the placement of the centric point in his engravings is also dealt with. The centric points of Vredeman’s plates are seldom placed on a blank architectural surface. Instead, we encounter deliberate openings that allow us to travel beyond the pictorial plane and that remind us of the artificial nature of the environment being shown. Someone might theoretically be looking back at us, configuring the world before us, and thereby reinforcing the arbitrariness of our point of view. Overall, this paper aims to look anew at the symbolic significance of the perspective engravings of Vredeman de Vries. The writing ends with a summary on what it might mean to transcend a perspective.en_US
dc.language.isoenen_US
dc.publisherSchool of Art History, University of St Andrewsen_US
dc.relation.ispartofNorth Street Review: Arts and Visual Cultureen_US
dc.rightsCopyright (c) The author(s). This is an open access article published in North Street Review. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 Licence (http://creativecommons.org/licenses/by-nc/4.0//)en_US
dc.rights.urihttp://creativecommons.org/licenses/by-nc/4.0//
dc.subjectVredeman de Vriesen_US
dc.subjectPerspectiveen_US
dc.subjectPerspectiveen_US
dc.subjectEngravingen_US
dc.subjectTranscendenceen_US
dc.subject.lcshArt--Historyen_US
dc.titleVredeman de Vries: geometry and freedomen_US
dc.typeJournal articleen_US
dc.description.versionPublisher PDFen_US
dc.publicationstatusPublisheden_US
dc.statusPeer revieweden_US


The following licence files are associated with this item:

  • Creative Commons

This item appears in the following Collection(s)

Show simple item record

Copyright (c) The author(s). This is an open access article published in North Street Review. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 Licence (http://creativecommons.org/licenses/by-nc/4.0//)
Except where otherwise noted within the work, this item's licence for re-use is described as Copyright (c) The author(s). This is an open access article published in North Street Review. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 Licence (http://creativecommons.org/licenses/by-nc/4.0//)