(Professor Vesna, Victoria. "DESMA9 LECTURE 2. Math + Art" )
Brunelleschi was credited with the first correct formulation of linear perspective about 1413. He realized that there exist a vanishing point in which all parallel lines would converge. He correctly calculated the length of objects from the length of the objects behind the canvas. He was able to do this because he was trained in the principles of Geometry and surveying methods. Another artist spent a lot of time on mathematics, and introduced the golden ratio of the human body to the world. He also used mathematicians in drawing up inventions for many of the technology we now have but was unthinkable at his times. In addition, his masterpiece of the "Last Dinner" and Mona Lisa both incorporated math in completing the art work.
(The Vitruvian Man by Leonardo Da Vinci)
(Mona Lisa by Leonardo Da Vinci)
(The Last Dinner, by Leonardo Da Vinci)
What I have learn through this week's lecture and suggested reading is that mathematics is actually everywhere around us in terms of art works and buildings. Architectural design may be consider an art, but it incorporates many of mathematics such as shapes of buildings and the ability to draw pictures in perspectives because after all the final building are 3-D instead of 2-D. I have always heard of golden mean and golden ratio and how Da Vinci has wonderful art piece, but did not realize these were all created with the help of mathematics. In the end, I can fully understand how art and science can relate through the application of mathematics in both fields.
Vesna, Victoria. “Mathematics-pt1-ZeroPerspectiveGoldenMean.mov.” Cole UC online. <https://cole2.uconline.edu/courses/63226/wiki/unit-2-view?module_item_id=970424>
The Vitruvian Man by Leonardo Da Vinci, <http://en.wikipedia.org/wiki/The_Vitruvian_Man>
Mona Lisa by Leonardo Da Vinci, <http://en.wikipedia.org/wiki/Mona_Lisa>
The Last Dinner, by Leonardo Da Vinci, <http://en.wikipedia.org/wiki/The_Last_Supper_(Leonardo_da_Vinci)>
Henderson, Linda. “The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion.” MIT Press. 17.3 (1984): 205-10. Print.
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