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Περί ζωγραφικής
Η πραγματεία «Περί Ζωγραφικής» είναι το πρώτο θεωρητικό κείμενο της νεότερης τέχνης. Ο συγγραφέας του, ο Φλωρεντινός ουμανιστής, αρχιτέκτονας και καλλιτέχνης Λεόν Μπαττίστα Αλμπέρτι (1404-1472), γράφει την πραγματεία του το 1435, πρώτα στα λατινικά, όργανο της ανθρωπιστικής παιδείας του καιρού του, για να τη μεταφράσει τον επόμενο χρόνο στα ιταλικά και να την αφιερώσει στο φίλο του αρχιτέκτονα Φίλιππο Μπρουνελλέσκι. Το «Περί Ζωγραφικής» απευθύνεται στους σύγχρονους καλλιτέχνες, τους πρωτοπόρους του Κουατροτσέντο.
186 pages, Paperback
First published January 1, 1435
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About the author
Leon Battista Alberti
307 books27 followersInfluential treatises on painting, architecture, and sculpture of Italian writer Leon Battista Alberti introduced classical ideas into Renaissance art.
This author, poet, priest, linguist, philosopher, cryptographer, and general humanist polymath, often characterized exclusively, as James Beck observed, "to single out one of Leon Battista's 'fields' over others as somehow functionally independent and self-sufficient is of no help at all to any effort to characterize Alberti's extensive explorations in the fine arts." Giorgio Vasari described life of Alberti in Vite de' più eccellenti pittori, scultori, e architettori or "Lives of the most excellent painters, sculptors and architects."
https://en.wikipedia.org/wiki/Leon_Ba...
This author, poet, priest, linguist, philosopher, cryptographer, and general humanist polymath, often characterized exclusively, as James Beck observed, "to single out one of Leon Battista's 'fields' over others as somehow functionally independent and self-sufficient is of no help at all to any effort to characterize Alberti's extensive explorations in the fine arts." Giorgio Vasari described life of Alberti in Vite de' più eccellenti pittori, scultori, e architettori or "Lives of the most excellent painters, sculptors and architects."
https://en.wikipedia.org/wiki/Leon_Ba...
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Displaying 1 - 30 of 66 reviews
April 27, 2024
Ovo je blistav spomenik istorije umetnosti, koji iznutra približava renesansu. I šarmantne zablude, poput toga da postoji četiri osnovne boje (vatrena, modra, zelena i pepeljasta) ili starinske podele, kao što je ta da sliku čini opisivanje (zapravo skiciranje), kompozicija i primanje svetla, učestvuju u dočaravanju utiska otmenosti i lepote, kao deo onoga što je poznato kao „sedam slobodnih veština”. Slikar koji ne zna geometriju nije slikar, ali i slikar koji nije obdaren vrlinom i uzvišenošću, takođe. Veština je isprepletana sa vrlinom, ali i sa prikladnošću; a tamo gde postoje iskoraci, postoje u odnosu na ono što je isprobano i dobro poznato. Sklad, obrazovanje i stalno učenje od prirode – neophodni su za ostvarivanje slikanja kao vizuelnog mišljenja, pobede promišljenosti i, kako stoji u prevodu, „najtankoćutnijoj umjetnosti“.
Delo ima dve posvete: izvesnom knezu Mantove i Filipu Bruneleskiju. Ceo dan mi je u glavi Santa Marija del Fjore. Jednom vidiš i ne zaboravljaš. Italija zaista ima višak lepote, mogli su nešto da ostave drugima.
„Slikarstvo je bilo toliko slavljeno i cijenjeno da je kod Grka bilo zakonom zabranjeno dopustiti robovima da izuče slikarstvo, i to s pravom: slikarsko umijeće, naime, dolikuje upravo slobodnu duhu i plemenitu umu, i uvijek sam ga smatrao jasnim znakom plemenita i istaknuta duha kod onih za koje sam uvidio da silno uživaju u slikarstvu. Ipak, to je umije}e jednako drago učenima i neukima, a tako što ne nalazimo u gotovo nijednoj drugoj umjetnosti: da ono što pruža zadovoljstvo upućenima također dirne i one koji joj nisu vični. Teško da ćeš naći ikoga tko ne bi želio još više napredovati u slikarstvu. Jasno je i da se i sama priroda raduje slikarstvu: vidimo, naime, kako priroda počesto u mramoru oblikuje hipocentaure i bradata lica kraljeva.”
Delo ima dve posvete: izvesnom knezu Mantove i Filipu Bruneleskiju. Ceo dan mi je u glavi Santa Marija del Fjore. Jednom vidiš i ne zaboravljaš. Italija zaista ima višak lepote, mogli su nešto da ostave drugima.
„Slikarstvo je bilo toliko slavljeno i cijenjeno da je kod Grka bilo zakonom zabranjeno dopustiti robovima da izuče slikarstvo, i to s pravom: slikarsko umijeće, naime, dolikuje upravo slobodnu duhu i plemenitu umu, i uvijek sam ga smatrao jasnim znakom plemenita i istaknuta duha kod onih za koje sam uvidio da silno uživaju u slikarstvu. Ipak, to je umije}e jednako drago učenima i neukima, a tako što ne nalazimo u gotovo nijednoj drugoj umjetnosti: da ono što pruža zadovoljstvo upućenima također dirne i one koji joj nisu vični. Teško da ćeš naći ikoga tko ne bi želio još više napredovati u slikarstvu. Jasno je i da se i sama priroda raduje slikarstvu: vidimo, naime, kako priroda počesto u mramoru oblikuje hipocentaure i bradata lica kraljeva.”
June 23, 2015
Despite being told by Alberti not to bother continuing after the first chapter because I didn't quite grasp his mathematic theories, I finished the book. I even gleaned some information from it, ignoramus that I am. The following two 'books' were much more easy to grasp, being about composition, colour and light. He believed that equipped with his lessons, painters can become masters of thur art. Alberti himself was a true Renaissance man; painter and architect, theorist and essayist, philosopher and humanist. He embodied that archetype of Renaissance thinking which is somewhat lost today. Although dry and didactic in places, this was nonetheless an enlightening read, even if some of it went over my head, and is a key to understanding the art of his time.
September 19, 2021
Alberti
De Pictura (1435)
The present edition is a translation by Jean Louis Schefer from the original Latin to French. Face to face pages with Latin on the left is very tempting to read in both languages and improve on Latin vocabulary.
Leon Battista Alberti (1404 – 1472) like Leonardo da Vinci was an exceptional figure of the Italian Renaissance. He had a universal knowledge of all there was to be known in his time. Like Leonardo, he was able to combine sciences, humanities, and arts.
De Pictura is a treaty about painting; the author meant to teach painters the technicalities and ethics of construction and presentation of an image of nature. In his mind, young people should learn to paint as they learned to read and write.
As a first step, like a poet, the painter must imagine the story he wants to tell. Then he will divide up the surface of the canvas into sections presenting different aspects of the story. Alberti uses a scheme of pyramids and parallels to organize the sections.
Then the author presents a graphical method of design for a visual perspective, adding figures at their corresponding sizes according to the distance in the field.
Figures are not to be statues but moving and articulated as in real life. Nature must be moving according to wind and weather, blowing dust and leaves and waves in water.
Colours should not be pure and violent, nor extremely white nor extremely black, gold should be used very limitedly.
Outlines should be soft, like dissolving smoke! This comment reminds me of Leonardo’s “sfumato” outlines in style.
Alberti also advises not to persevere endlessly to reach perfection in their painting. It should not reach old age before being finished. That would be more stubbornness than diligence.
Again, this is an amusing reminder of Leonardo who kept painting on ‘Mona Lisa’ for over sixteen years and kept it until he died.
The Introduction of ‘De Pictura’ by Sylvie Deswaret-Rosa presents a short biography of Alberti. He appears to have produced only a few paintings but was a productive scientific writer publishing several books and an important treatise on architecture ‘De Reoedificatoria’.
Alberti was also a successful architect, he saw several of his projects completed, like The Temple of Malatesta in Rimini; The front Façade of The Rucellai Palace and The Church of Santa Maria Novella in Florence.
This book is delightful and amusing to read and recommended to lovers of paint and the Italian Renaissance.
De Pictura (1435)
The present edition is a translation by Jean Louis Schefer from the original Latin to French. Face to face pages with Latin on the left is very tempting to read in both languages and improve on Latin vocabulary.
Leon Battista Alberti (1404 – 1472) like Leonardo da Vinci was an exceptional figure of the Italian Renaissance. He had a universal knowledge of all there was to be known in his time. Like Leonardo, he was able to combine sciences, humanities, and arts.
De Pictura is a treaty about painting; the author meant to teach painters the technicalities and ethics of construction and presentation of an image of nature. In his mind, young people should learn to paint as they learned to read and write.
As a first step, like a poet, the painter must imagine the story he wants to tell. Then he will divide up the surface of the canvas into sections presenting different aspects of the story. Alberti uses a scheme of pyramids and parallels to organize the sections.
Then the author presents a graphical method of design for a visual perspective, adding figures at their corresponding sizes according to the distance in the field.
Figures are not to be statues but moving and articulated as in real life. Nature must be moving according to wind and weather, blowing dust and leaves and waves in water.
Colours should not be pure and violent, nor extremely white nor extremely black, gold should be used very limitedly.
Outlines should be soft, like dissolving smoke! This comment reminds me of Leonardo’s “sfumato” outlines in style.
Alberti also advises not to persevere endlessly to reach perfection in their painting. It should not reach old age before being finished. That would be more stubbornness than diligence.
Again, this is an amusing reminder of Leonardo who kept painting on ‘Mona Lisa’ for over sixteen years and kept it until he died.
The Introduction of ‘De Pictura’ by Sylvie Deswaret-Rosa presents a short biography of Alberti. He appears to have produced only a few paintings but was a productive scientific writer publishing several books and an important treatise on architecture ‘De Reoedificatoria’.
Alberti was also a successful architect, he saw several of his projects completed, like The Temple of Malatesta in Rimini; The front Façade of The Rucellai Palace and The Church of Santa Maria Novella in Florence.
This book is delightful and amusing to read and recommended to lovers of paint and the Italian Renaissance.
June 5, 2016
I picked up this book with a lot of hopes, since this was the treatise that was said to have influenced the likes of Leonardo da Vinci. However, the much lesser mortal that I am, I couldn't gain much out of reading this book. Though Leon is said to be a Renaissance master himself, modesty seems not to be one of his virtues. Ego oozes out of his words in many pages. He seems to have believed that he could do nothing wrong and people can all start painting in a much better way by merely following his techniques. And, those with alternative view points are simply brushed aside. Such a egoistic attitude leaves a poor taste behind!
As for the book, it comprises of three chapters, or, as he calls them, three 'books'. The first one is mostly about geometrical patterns and viewpoints. Though it begins easily, soon it devolves into genius-talks. Only the second and third 'book' speak in a normal tone and are easily comprehensible and useful. But, as already said, his egoistic attitude shines throughout the book. Don't read just because it is called a 'classic' and don't read, if you are hoping to learn much about painting. This is a very casual work that you can do without.
As for the book, it comprises of three chapters, or, as he calls them, three 'books'. The first one is mostly about geometrical patterns and viewpoints. Though it begins easily, soon it devolves into genius-talks. Only the second and third 'book' speak in a normal tone and are easily comprehensible and useful. But, as already said, his egoistic attitude shines throughout the book. Don't read just because it is called a 'classic' and don't read, if you are hoping to learn much about painting. This is a very casual work that you can do without.
April 12, 2023
Interesting to read all the things we take for granted, ideas on perspective etc presented as new and revelatory.
August 18, 2017
Miles J. Unger made me very curious about Alberti with some of the references he made during Michelangelo: A Life in Six Masterpieces. I went looking for anything I could find by or about Leon Battista Alberti.
One of the books I found was this.
The prose was beautiful. Some of it was insightful. Much of it made me smile, since I knew many an accomplished artist would do the exact opposite of Alberti advised. Some of it simply made me roll my eyes.
I came to the conclusion that Leon Battista Alberti was not a man ahead of his times, like Leonardo da Vinci and so many others whom emerged to shine a light upon the dark ages, pointing ahead. Alberti was very much a product of the Renaissance, its progress and its prejudices.
If you wish to get a sense of that time, this is an interesting read. Don’t accept everything Alberti says at face value. Keep a critical eye for statements he claimed were truths. Many of them are simply what Alberti believed to be best. It does give readers an ideas of some of the aesthetics and morals which circulated during the Renaissance. It also gives readers something to think about, in considering how much these elements are subject to change and can be challenged.
I enjoyed reading this book. It inspired me, plus it made me think. Its righteous tone irritated me at times, plus a lot of the ‘truths’ are questionable. Still, it was an interesting read.
One of the books I found was this.
The prose was beautiful. Some of it was insightful. Much of it made me smile, since I knew many an accomplished artist would do the exact opposite of Alberti advised. Some of it simply made me roll my eyes.
I came to the conclusion that Leon Battista Alberti was not a man ahead of his times, like Leonardo da Vinci and so many others whom emerged to shine a light upon the dark ages, pointing ahead. Alberti was very much a product of the Renaissance, its progress and its prejudices.
If you wish to get a sense of that time, this is an interesting read. Don’t accept everything Alberti says at face value. Keep a critical eye for statements he claimed were truths. Many of them are simply what Alberti believed to be best. It does give readers an ideas of some of the aesthetics and morals which circulated during the Renaissance. It also gives readers something to think about, in considering how much these elements are subject to change and can be challenged.
I enjoyed reading this book. It inspired me, plus it made me think. Its righteous tone irritated me at times, plus a lot of the ‘truths’ are questionable. Still, it was an interesting read.
September 29, 2023
This man takes the joy out of painting
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August 6, 2025I didn’t like Alberti’s perspective on “ugliness” as portrayed in ‘historias’ perhaps or art in general, yes despite this being 600 years old these views still carry into modern day art. This man who holds nature on a pedestal, reiterating how we as artists must duplicate what we see in nature also saying in a painting the ‘ugly things’ should either be ‘omitted or amended’. Contradicting himself in areas where he expresses the ugliness of elder women and ‘disgust’ upon seeing them (suggesting not to paint them and opt for a more flourishing youth) but also wants all ages and characters to be present in a historia. Excluding this I thought this was good.
April 16, 2019
This is a fabulous gem of a book. I'm a bit baffled by the reviews – I can only conclude that most of the reviewers are not trained painters, and so this went over their heads. You do need to have a background in draughtsmanship and classical oil painting in order to be able to understand what he was talking about, and if you do, this is clear and lucid and extremely helpful – but your level of expertise needs to be high! I would not recommend this to beginners or to the merely curious. This is an extremely sophisticated, elegant book, well worth studying by modern classical figurative painters. The quality of advice offered is extraordinary.
April 25, 2019
I’ve read this book for its historical significance and the fact that it came up on many books I’ve read about art and the Renaissance.
For the actual painting methods and tips though, it was somewhat difficult to understand. Like most renaissance men, art goes hand in hand with mathematics and geometry.
It would be easier to read in a hard copy because the kindle versions with so many links to the illustrations are really annoying to follow.
All in all, this book nowadays should be accompanied by a lecture, a video or an explanatory text that should explain the context and meaning of Alberti’s work.
For the actual painting methods and tips though, it was somewhat difficult to understand. Like most renaissance men, art goes hand in hand with mathematics and geometry.
It would be easier to read in a hard copy because the kindle versions with so many links to the illustrations are really annoying to follow.
All in all, this book nowadays should be accompanied by a lecture, a video or an explanatory text that should explain the context and meaning of Alberti’s work.
August 15, 2023
Grad school. 1st class. Fond memories. Best paper I ever wrote. And not a bad treatise (for it's time).
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May 31, 2022"Painting possesses a truly divine power in that not only does it make the absent present (as they say of friendship), but it also represents the dead to the living many centuries later...
"The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator." 25, 26
"But in order that he may attain all these things, I would have the painter first of all be a good man, well versed in the liberal arts." 52
"I have seen some painters and sculptors, and rhetoricians and poets as well (if in our day and age there are any worth calling rhetoricians or poets), begin some work with great enthusiasm, and then when the ardour of their thoughts cooled, abandon it in a rough and unfinished state, and under impulse to do something different, devote themselves to fresh enterprises. I certainly disapprove of such people...But one should avoid the excessive scruple of those who, out of desire for their work to be completely free from all defect and highly polished, have it worn out by age before it is finished...wanting to achieve in every particular more than is possible or suitable is characteristic of a stubborn, not of a diligent man." 61
"The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator." 25, 26
"But in order that he may attain all these things, I would have the painter first of all be a good man, well versed in the liberal arts." 52
"I have seen some painters and sculptors, and rhetoricians and poets as well (if in our day and age there are any worth calling rhetoricians or poets), begin some work with great enthusiasm, and then when the ardour of their thoughts cooled, abandon it in a rough and unfinished state, and under impulse to do something different, devote themselves to fresh enterprises. I certainly disapprove of such people...But one should avoid the excessive scruple of those who, out of desire for their work to be completely free from all defect and highly polished, have it worn out by age before it is finished...wanting to achieve in every particular more than is possible or suitable is characteristic of a stubborn, not of a diligent man." 61
July 30, 2025
There's three sections to this short essay which are not titled by Alberti for some reason. I will take it upon me to do the work for whoever is going to read this review (probably my five friends on the platform) in case they'll want to read just one of the sections. Book I is going to be "geometry of a painting: everything you have never wondered about linear perspective". Then we go on to Book II which will be named: "Circumscription, composition and color: blaming everyone who uses gold leaf instead of white pigment to simulate light". And, finally, we will conclude the essay with book III: "the painter trope: please do your background checks before painting historical scenes or at least ask a friend". To quote Alberti "Let not, therefore, the judgment and sentence of the multitude be held in disdain, when yet it is lawful to satisfy their opinion". To put it more bluntly, don’t go out of your way to be different just for difference’s sake.
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December 18, 2025For me the most interesting part of reading this book was to see how they understood the world back in this time period (1400s). Some of the math and science was a bit strange, because our understanding of these things has changed so much since then. Also, as an artist whose entire art practice is concerned with “things that are not visible”, it was cool to be reminded of how different art was seen back then.
Finally, Alberti said that in order to be a good artist you have to be a good person, which is cute and I love that
Finally, Alberti said that in order to be a good artist you have to be a good person, which is cute and I love that
July 21, 2017
"The extrinsic rays [of light], thus encircling the plane—one touching the other—enclose all the plane like the willow wands of a basket-cage, and make, as is said, this visual pyramid."
December 18, 2023
Alberti was gloriously full of himself, but I still enjoy reading his ideas.
April 10, 2024
wasnt this translation that i read but wow. some fascinating stuff in there but god forbid you paint with too much white or do not bother to study geometry before you start painting
May 4, 2024
Lots of interesting info, annoying to read
April 15, 2024
SNOOORK
men litt fin og da. viktig osv.
men litt fin og da. viktig osv.
January 24, 2022
Super interesting and not a bad start to the HUM semester. Split into three books -- first one was fairly math driven so not my favorite but kind of fascinating nonetheless. I read the last two books much more quickly as they had more to do with the importance of painting and the person requirements for painters. I think I would have enjoyed this even more if I had even a semblance of artistic talent.
February 17, 2022
Alberti was a member of Florentine family exiled in the 14th century, who was able to return in Florence only from 1434, in the following of the Papal court during the Council of Florence. Here he knew contemporary art innovators such as Filippo Brunelleschi, Donatello and Masaccio, with whom he shared an interest for Renaissance humanism and classical art.
Alberti was the first post-classical writer to produce a work of art theory, as opposed to works about the function of religious art or art techniques, and reflected the developing Italian Renaissance art of his day. As an artist, architect, poet and philosopher, he revolutionized the history of art with his theories of perspective in On Painting (1435). Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter.
On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.
Alberti was the first post-classical writer to produce a work of art theory, as opposed to works about the function of religious art or art techniques, and reflected the developing Italian Renaissance art of his day. As an artist, architect, poet and philosopher, he revolutionized the history of art with his theories of perspective in On Painting (1435). Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter.
On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.
February 7, 2023
Read this if you care about art or architecture, some interesting points to reflect on.
December 6, 2011
Written during the Renaissance, Alberti's guide to true painting is wonderful. Arguing that a true artist is very much a technician; they must know arithmetic, literature, and reception of light in order to make an art piece a true work of art. I really enjoyed reading this and I am sure that those infatuated with art and everything to do with it will equally enjoy it.
February 26, 2013
Ariosto offers a great point of reference for any interested in art and its practice, showing more similarity to modern eyes in method and aesthetic appreciation than difference. The fact that the work mainly existed in Latin, rather than Italian, makes it even more impressive in clarity and skill!
July 29, 2008
stauffer said start here ... it took me 11 years, but i read it
April 7, 2021
This book is best read in conjunction with a study of Alberti's paintings and his biography. The book contains what were considered novel ideas in his day, but it is also imbued with the patina of classical scholarship that connects the importance of virtue to the work of the artist.
"Painting contains a divine force which not only makes absent men present, as friendship is said to do, but moreover makes the dead seem almost alive. Even after many centuries they are recognized with great pleasure and with great admiration for the painter. Plutarch says that Cassander, one of the captains of Alexander, trembled through all his body because he saw a portrait of his King. Agesilaos, the Lacedaimonian, never permitted anyone to paint him or to represent him in sculpture; his own form so displeased him that he avoided being known by those who would come after him. Thus the face of a man who is already dead certainly lives a long life through painting. Some think that painting shaped the gods who were adored by the nations. It certainly was their greatest gift to mortals, for painting is most useful to that piety which joins us to the gods and keeps our souls full of religion. They say that Phidias made in Aulis a god Jove so beautiful that it considerably strengthened the religion then current."
"Painting contains a divine force which not only makes absent men present, as friendship is said to do, but moreover makes the dead seem almost alive. Even after many centuries they are recognized with great pleasure and with great admiration for the painter. Plutarch says that Cassander, one of the captains of Alexander, trembled through all his body because he saw a portrait of his King. Agesilaos, the Lacedaimonian, never permitted anyone to paint him or to represent him in sculpture; his own form so displeased him that he avoided being known by those who would come after him. Thus the face of a man who is already dead certainly lives a long life through painting. Some think that painting shaped the gods who were adored by the nations. It certainly was their greatest gift to mortals, for painting is most useful to that piety which joins us to the gods and keeps our souls full of religion. They say that Phidias made in Aulis a god Jove so beautiful that it considerably strengthened the religion then current."
August 20, 2017
Alberti kirjoitti De Picturan latinaksi (ja myöhemmin italiaksi) vuonna 1435. Kyseessä on opaskirja maalareille. Kolme osaa. Ensimmäinen käsittelee geometriaa, toinen viivoja, pintoja, kompositiota (syvyysperspektiivi!), värejä, valoa/varjoa (valkoinen ja musta) ja kolmas osa taiteen ja taiteilijuuden olemusta. Luonto on keskeisessä roolissa ja maalaustaiteen tulisi jäljitellä luontoa. Aiheet taiteeseen tutuista asioista (ei sooloilua aiheissa), mutta niitä voi soveltaa luovasti, esim. allegorisesti. Taiteilijan tulee olla oppinut, keskitien kulkija, ei rahanahne ja oppineisuuteen sisältyy kirjallisuuden (aihepankki) lisäksi vahvasti geometrian tuntemus. Maalaajan tulisi käyttää kehittyäkseen Albertin kehittämiä tekniikoita, joista tunnetuin lienee (jälkikäteen nimetty) nk. Albertin ikkuna (ruudukkosysteemi kohteen toistamiseksi maalauspinnalle sommitteluvaiheessa ja viivojen piirtämisvaiheessa. Albertille maalaustaide on jalo laji, joka ei ole käsityötä vaan jolla on korkeampia tarkoitusperiä. Maalaustaide on kaikkien kuvallisten esitysmuotojen ja taidelajien pohjalla Albertin mukaan. --- Lukukokemuksena kirja saattoi olla hieman puiseva ja samalla kiinnostava. Geometria-osuus ei ole hankalaa ja aina kun kirjoittaja viittaa antiikkiin, niin tulen iloiseksi.
October 29, 2019
This book, by the famed Italian architect and humanist Alberti, first published in 1435, was intended to be a presentation of the theoretical rudiments of painting to fellow painters or to those aspiring to become one. In it, Alberti gives a detailed exposition on the correct representation of lines, planes and other surfaces, on the rules of central perspective, of composition, of light, shade and color, and of the harmonious combination of these diverse elements in order to produce a pleasant painting. Go back to Nature is the main thrust of the argument, always coached with a fair number of citations of classical sources in a typical Renaissance discourse, but he also instructs the painters to acquire a solid culture in the ''liberal arts'' (geometry, poetry, and rhetoric) besides prescribing some moral pre-requisites and social skills! A very pleasant reading.
March 29, 2020
Strangely enough, I really liked this book, though I wouldn't call it a stimulating read. But it is the seminal book on painting in the Western world, and I was fascinated to read in archaic language some of the same elements of shape and form that I find in a modern book about drawing. This guy was the first to take a hands-on, heart-learned skill and make a manual for it.
May 28, 2017
I'm not an artist, but I found this a charming and insightful read nonetheless, since Alberti also offers philosophical thoughts about the role of artists, liberal education, and achieving your dreams and goals. In so many ways still relevant today, despite have been written in the 15th century.
Displaying 1 - 30 of 66 reviews