Da Vinci Series

Basic Information

Title: Da Vinci Series
Artist(s): Charles “Chuck” Csuri
Date Created: 1966
Unframed Dimensions: 13 x 15.5 in.
Medium:
Inventory ID: Csuri-1966-03

Description

signed and dated lower left in ink

hardware: IBM 7094
output machine: CalComp 565 drum plotter

Csuri continued to work with transformations on drawings and created several works based on Leonardo da Vinci’s Vitruvian Man. To do this, Csuri first made a drawing based on Leonardo’s famous sketch. He then invoked the mathematical concept of circle inversion as a means by which to transform his drawing. By varying the numbers in the equations, Csuri was able to direct the computer to alter his original drawing. Circle inversion allowed him to make transformations beyond scaling along x and y coordinates, as he had done using an analogue device in the After the Artist series two years earlier. See also “Leondardo’s Human Proportions” in this series.

 

More Artworks By Charles “Chuck” Csuri

Da Vinci Series

Created in 1966 by Charles “Chuck” Csuri

signed and dated lower left in ink hardware: IBM 7094 output machine: CalComp 565 drum plotter Csuri continued to work with transformations on drawings and created several works based on Leonardo da Vinci’s Vitruvian Man. To do this, Csuri first made a drawing based on Leonardo’s famous sketch. He then invoked the mathematical concept of […]


Da Vinci Series

Created in 1966 by Charles “Chuck” Csuri

signed and dated lower right in ink hardware: IBM 7094 output machine: CalComp 565 drum plotter Csuri continued to work with transformations on drawings and created several works based on Leonardo da Vinci’s Vitruvian Man. To do this, Csuri first made a drawing based on Leonardo’s famous sketch. He then invoked the mathematical concept of […]


Sine Curve Man

Created in 1967 by Charles “Chuck” Csuri

a serigraph after an original unique computer generated plotter drawing signed and dated “Csuri began this Sine Curve Man work with an original drawing and transformed it using the sine curve function. His abstraction of the face suggests parallels with early Cubist movements and manages, without having the advantage of color, to invoke the emotive […]