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Essay / Research Paper Abstract
5 pages in length. Italian architect Filippo Brunelleschi helped to bring art and architecture to an entirely new plateau of appreciation. Responsible for re-establishing
the notion of linear perspective, the writer discusses Brunelleschi’s application of the mathematical concept ushered in the era of naturalism in both Renaissance and Baroque architecture. Bibliography lists 4 sources.
Page Count:
5 pages (~225 words per page)
File: LM1_TLCfilip.doc
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Unformatted sample text from the term paper:
of linear perspective, Brunelleschis application of the mathematical concept ushered in the era of naturalism in both Renaissance and Baroque architecture. It can be argued that Renaissance and Baroque
architecture exemplified a very interpretive art form that incorporated the use of various styles and techniques. Indeed, architectural passions played a significant role in the creation of buildings and
structures during these periods, not the least of which was experienced by Brunelleschi. Creating a building involves significantly more than mere blueprints and concrete; rather, fashioning a true work
of architectural illusion is really no different than an artists canvass, in that the architect works his mathematically precisioned magic with stone, brick and stucco rather than paper or cloth.
However, it is the passion of the individual architect, as with Brunelleschi, that gives the particular structure its inherent personality. One can merely gaze upon a building and
understand how architecture can express the life and vitality, values and wit of the people who erect them. Brunelleschi, whose one of many major contributions to Renaissance and Baroque architecture
includes that of "designing and erecting the immense dome of Florence cathedral" (Osmond 18), brought to light the importance of linear or vanishing-point by demonstrating how to approach art and
architecture as though one were looking through a framed window. With each subsequent step in the process of establishing linear perspective, Brunelleschi carefully and calculatingly aligned his talent with
that of the theoretical world. While it can be argued that combining such stringent computations with the free flowing aspect of art and architecture is seemingly uncomplimentary, Brunelleschi demonstrated
with considerable ease just how interrelated the two components actually are. "This was not a very scientific approach, but it allowed the artist to observe and gauge the phenomenon
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