Ars et Ingenium: The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings

Nonfiction, Art & Architecture, Architecture, Public, Commercial, or Industrial Buildings, History, Renaissance
Cover of the book Ars et Ingenium: The Embodiment of Imagination in Francesco di Giorgio Martini's Drawings by Pari Riahi, Taylor and Francis
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Author: Pari Riahi ISBN: 9781317755982
Publisher: Taylor and Francis Publication: February 11, 2015
Imprint: Routledge Language: English
Author: Pari Riahi
ISBN: 9781317755982
Publisher: Taylor and Francis
Publication: February 11, 2015
Imprint: Routledge
Language: English

When did drawing become an integral part of architecture? Among several architects and artists who brought about this change during the Renaissance, Francesco di Giorgio Martini’s ideas on drawing recorded in his Trattati di architettura, ingegneria e arte militare (1475-1490) are significant. Francesco suggests that drawing is linked to the architect’s imagination and central in conveying images and ideas to others.

Starting with the broader edges of Francesco’s written work and steadily penetrating into the fantastic world of his drawings, the book examines his singular formulation of the act of drawing and its significance in the context of the Renaissance. The book concludes with speculations on how Francesco’s work is relevant to us at the onset of another major shift in architecture caused by the proliferation of digital media.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

When did drawing become an integral part of architecture? Among several architects and artists who brought about this change during the Renaissance, Francesco di Giorgio Martini’s ideas on drawing recorded in his Trattati di architettura, ingegneria e arte militare (1475-1490) are significant. Francesco suggests that drawing is linked to the architect’s imagination and central in conveying images and ideas to others.

Starting with the broader edges of Francesco’s written work and steadily penetrating into the fantastic world of his drawings, the book examines his singular formulation of the act of drawing and its significance in the context of the Renaissance. The book concludes with speculations on how Francesco’s work is relevant to us at the onset of another major shift in architecture caused by the proliferation of digital media.

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