期刊名称：Espacio, Tiempo y Forma. Serie VII, Historia del Arte
印刷版ISSN：1130-4715
电子版ISSN：2340-1478
出版年度：2019
期号：7
页码：77-102
DOI：10.5944/etfvii.7.2019.24267
出版社：Universidad Nacional de Educación a Distancia (UNED)
摘要：La vista urbana en perspectiva ilusionista es un motivo iconográfico procedente de la cultura visual del Renacimiento italiano, momento en el que fue utilizado tanto en el teatro como en la pintura. Este artículo estudia la influencia y pervivencia de esta iconografía en la pintura occidental y pone en evidencia, particularmente, los casos de metaescenografías. Se plantea una reflexión sobre los usos de dicho motivo, en especial, su empleo como recurso metaartístico, sus variantes, así como su temporalidad. A partir de ahí, se analizan algunos ejemplos de las vanguardias artísticas del siglo XX donde esta iconografía reaparece, bien constatando la supervivencia de la visión euclidiana o adquiriendo el significado de metaescenografías pintadas. Abstract The urban view in an illusionist perspective is an iconographic motif from the visual culture of the Italian Renaissance, at which time it was used both in theatre and in painting. This article studies the influence and survival of this iconography in Western painting and highlights, in particular, cases of meta-scenographies. A reflection is raised on the uses of this motif, especially its use as a meta-artistic resource, its variants, as well as its temporality. From there, some examples of 20th century artistic avant-gardes where this iconography reappears are analyzed, either confirming the survival of the Euclidean vision or acquiring the meaning of painted meta-scenographies.
其他摘要：The urban view in an illusionist perspective is an iconographic motif from the
visual culture of the Italian Renaissance, at which time it was used both in theatre
and in painting. This article studies the influence and survival of this iconography
in Western painting and highlights, in particular, cases of meta-scenographies. A
reflection is raised on the uses of this motif, especially its use as a meta-artistic
resource, its variants, as well as its temporality. From there, some examples of
20th century artistic avant-gardes where this iconography reappears are analyzed,
either confirming the survival of the Euclidean vision or acquiring the meaning of
painted meta-scenographies.
