The application of surface geometry to works of art as an aid in the exegesis of the visual image : the case for and against

Abstract

The application of geometric configurations to the surfaces of architectural elevations, reproductions of classical vases and sculpture, and Renaissance paintings based on perspective, for the purpose of revealing structural formulae for their design or composition, is a common art historical activity. Often there is evidence of the planning of geometric proportions within the work of art itself, while no historical documentation exists to support the claim that hidden formulae were intended. Thus, geometrical analyses of works of art may or may not contribute to the interpretation of works of art. Because of this ambiguity, the practice of using surface diagrams has recently been questioned.

Die aanwending van geometriese konfigurasies op die oppervlaktes van argitektoniese aansigte, reproduksies van klassieke vase en beeldhouwerke, en Renaissance-skilderye wat op perspektief gebaseer is, met die doel om strukturele formules vir die ontwerp of komposisie daarvan te ontbloot, is 'n algemene kunshistoriese praktyk. Daar is dikwels getuienis vir die beplanning van geometriese verhoudings in die werk self, terwyl geen historiese dokumentasie bestaan om die aanname te staaf dat verborge formules beoog is nie. Vandaar is dit moontlik dat geometriese ontledings van kunswerke tot die interpretasie van kunswerke mag bydra, maar die teendeel mag ook waar wees. Vanweë hierdie dubbelsinnigheid is die aanwending van oppervlak-diagramme onlangs bevraagteken.