The project has resulted in several types of outcome and has been disseminated in various ways:
- Finished and investigative/explicative drawings that have been/will be exhibited.
- Investigative, analytical or explicative drawings, exhibited and used within the various papers/presentations/publications.
- Explicative animations made and exhibited, dealing with the relationship of the mechanics to the imagery.
- Peer-reviewed presentations made to research groups and to conferences, both within the university and internationally, and to academic and non-academic audiences.
- Papers/essays published in peer-reviewed international journals/books.
The practice and research is cross-disciplinary and therefore presentations and papers have been given in the Fine Art, Architecture, Mathematics, Art History, Psychology/Neuroscience arenas.
- 2006, Nexus VI, conference/publication, Nexus Journal of Architecture and Mathematics, Genoa University Architecture School.
- 2006, 'L'arte della Matematica nella Prospettiva', inaugural conference and publication, International Centre for the Study of Perspective, Urbino.
- 2007, 'Renaissance Vision: Dialogues between Art and Science' symposium, European Conference on Visual Perception, Arezzo. International art historians and neuroscientists also presenting (unpublished).
- 2010, Renaissance Society of America, Venice, paper 'Perspective and Spatial Play' in session 'Reappraising the Role of Illusionism in Early Modern Painting'.
- 2006, invited paper discussing research at the international conference 'The Drawing Board', Lincoln University. Collected papers published, 2007 and published 2009 on-line in 'Tracey: Contemporary Drawing Research.
- 2009, Peer-reviewed paper ' Perspective: what it doesn't say on the tin', (unpublished) presented in session 'Creative practice interventions in Art History' at 'Creative Practice, Creative Research' Conference, York St John University.
- Invited to contribute chapter 'Drawing Connections' to 'Writing on Drawing' . ed. Steve Garner, Intellect Books, 2008.
- Peer-reviewed paper 'Ambiguity and the development of Linear Perspective' published 2006, 'Tracey: Contemporary Drawing Research'.
- Show at Red Box Gallery, Newcastle, 2006: video plus drawings, first stage of project initially involving colleagues in computing using drawing and animation.
- One-person show, 'Grid', Hatton Gallery, 2007, showed drawings exploring original research question, which concerned different approaches to perspective construction.
- 2009, In Between the Lines 'Contemporary British Drawing', Trinity Contemporary, London
Click on icon to view animation
Hatton Gallery, University of Newcastle,
30 June – 15 August 2007
An exhibition including new and previous drawings and paper constructions, demonstrating Talbot’s latest research in this ongoing project on linear perspective.
Talbot was invited to show drawings together with various wood and paper constructions at the Study Gallery, Poole, 2005, in ‘Sculpture: Time and Process’ - an exhibition of twenty-six sculptors including Paolozzi, Mach, Wentworth, Deacon, Gormley and Caro. The exhibition examined sculptural processes and the ways in which artists generate ideas, use drawing, materials and different methods of making. Small paper constructions made alongside the drawings operated as working drawings, reversing the conventional relationship between drawing and sculpture.
The drawing ‘Glass 2’ was subsequently selected in 2006 for a survey exhibition of ten years of the Jerwood Drawing Prize, curated by Anita Taylor and Paul Thomas. Catalogue published Wimbledon College of Art, University of the Arts, London, 2007. ISBN 0-948327-25-1. The exhibition was shown at the Gallery at Wimbledon School of Art and tours public galleries in Singapore, Australia and the UK until 2008.
in Steve Garner (ed.) Writing on Drawing (2008),
Bristol: Intellect Books.
Talbot was invited to write a chapter ‘Drawing Connections’ in the book Writing on Drawing, edited by Steve Garner of the Department of Design and Innovation, the Open University, following the presentation of the paper at Lincoln University’s ‘Drawing Board’ symposium in 2006.
Other contributors: Anita Taylor, (University of the Arts London) Deanna Petherbridge, (Lincoln) Howard Riley, (Swansea). Ernst van Alphen, (Leiden University, Netherlands). Terry Rosenberg, (Goldsmiths’). James Faure Walker, (Kingston). Angela Anning, (Leeds). Stephen Farthing, (University of the Arts London) Anna Ursyn, (Colorado). Angela Eames, (University of the Arts London).
Nexus Network Journal of Architecture and Mathematics, 2006: VI: 121-134
A conference paper first presented at the Nexus VI conference in the School of Architecture, Genoa; it was subsequently published in the accompanying Nexus Journal in Turin. This peer reviewed interdisciplinary conference invites papers on all aspects of mathematics as it relates to architecture. Talbot demonstrated that there is a direct link between the geometric methods used in the depiction of the Chalice – an iconic drawing normally attributed to Uccello – and the forms that are generated and depicted. He also demonstrated how this works in his own practice, and links the methods used in the Chalice to drawings of geometric forms by Piero della Francesca and later speculative drawings of Leonardo da Vinci.
This research was also presented at the L’arte della Matematica nella Prospettiva conference in Urbino in 2006 at the newly established Centro Internazionale di Studi Urbino e la Prospettiva. Other speakers included Marc De Mey , Jean Dhombres, Judith V. Field, Volker Hoffmann, Jean Pierre Le Goff, Javier Navarro de Zuvillaga, Werner Oechslin, Patrick Seurinck, Rocco Sinisgalli, Andreas Thielemann, and Kim Veltman. The proceedings from the conference will be published in 2009. http://urbinoelaprospettiva.uniurb.it/index_eng.asp
In L’Arte della Matematica nella Prospettiva.
The volume collects the proceedings of the International Congress of Studies (Rome, Swiss Institute, 9 October 2006; Urbino, Palazzo Ducale, 10 – 11 October 2006) promoted by the International Center of Studies Urbino e la prospettiva and intended to investigate in its multiple aspects the relationship between the mathematical sciences and the arts, with the contribution of some of the most authoritative experts in the field. The fulcrum of the reflections emerged from the congress lies in the acknowledgment of the central role played in the history of perspective by the studies carried out in the Renaissance court of the Dukes of Urbino by personages as Piero della Francesca, Bramante, Raphael, Federigo Commandino and Guidobaldo del Monte. From the second half of the fifteenth century to the first half of the seventeenth century, in fact, the Dukedom of Urbino was at the center of a vast artistic, technical and scientific debate, intended to define the idea of perspective as a rigorous system of representation of reality founded on mathematical bases, and to clarify its possible applications in painting and in architecture. After the empirical studies of Brunelleschi and Masaccio, in 1435 Leon Battista Alberti (many times guest in Urbino of the Duke Federico da Montefeltro) supplied in his De Pictura a first systematic analysis of the idea of perspective and of the perspective-linear method. The merit to have driven the study of perspective along the rails of the scientific codification, however, goes to Piero della Francesca. In his treatise De Prospectiva Pingendi - composed in 1475 and dedicated to Duke Federico - the geometric foundations of the science of perspective are exposed for the first time in a mathematically rigorous way. The effective separation between the study of perspective addressed towards painting and architecture and its purely mathematical formalization has to be attributed instead to Federigo Commandino from Urbino and to his brilliant student Guidobaldo del Monte. The latter published in Pesaro in 1600 his Perspectivae libri sex, an almost exhaustive treatise of the entire discipline which would have opened the road to sectors of our modern mathematics as descriptive geometry and projective geometry, as well as to a wide range of applications in mechanics, architecture, theatrical scenographies and computer graphics. Inspired by these stimuli, the interventions contained in this volume analyze with great thoroughness the history and the applications of perspective in art, architecture and science from the Renaissance to the late seventeenth century, and reflect on the role of mathematics in the study and the most recent developments of the discipline. Rocco Sinisgalli.
Published 2009, Cartei and Bianchi Edizioni
European Conference on Visual Perception, Arezzo, 2007.
Talbot presented the paper ‘Ambiguity and the Geometry of Perspective’ at the peer-reviewed ‘Renaissance Vision: Dialogues between art and science’ symposium – part of the European Conference on Visual Perception held in Arezzo, 2007. This international interdisciplinary symposium investigated the links between art and science in the work of the Renaissance artist Piero della Francesca. Paper presented alongside papers from neuroscientists, psychologists and art historians, including: Patrick Cavanagh, Psychology, Harvard University and University of Paris. Michael Kubovy, Psychology, University of Virginia Marilyn Aronberg Lavin, History of Art, Princeton James Banker, Fondazione Piero della Francesca and North Carolina State University Frank Dabell, Art History, Temple University Rome J. V. Field, History of Art, Film and Visual Media, Birkbeck College Kirk D. Alexander, IET Mediaworks, University of California, Davis Alessandro Benci, Soprintendenza A.P.P.S.A&D.AR John Spike, Art historian, Florence Christopher Tyler, Vision Science, Smith-Kettlewell Research Institute, San Francisco Paolo Bonaiuto and Anna Maria Giannini, Univ. La Sapienza, Roma Nicholas Wade, Vision Science, University of Dundee Robert Belton, Creative and Critical Studies, University of British Columbia Bernd Kersten, Psychology, University of Bern Carlo Bertelli, Art History, Universities of Berkeley and Lausanne Silvano Lazzeri, Head restorer of the Legend of the True Cross frescoes Richard Talbot, Fine Art, University of Newcastle Francesca Bacci, History of Art, Oxford University Proceedings not published.
This peer reviewed paper forms a larger discussion on Talbot’s part about the history, nature and development of linear perspective.
Lincoln University, 2006
Presentation at the conference ‘What drawing is not what is drawing’ at Lincoln University in 2006. The paper engaged with issues arising from the relationship between Talbot’s sculpture and drawing practices. Talbot documented the journey from making drawings to making sculpture and back again, describing and speculating on the role that drawing, and in particular, linear perspective, has played within that journey. Proceedings available in ‘Drawing Board’, 2007, University of Lincoln. ISBN 1-86050-209-1
Richard Talbot’s website: http://www.richardtalbot.org/