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Perspective

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Title: Perspective


1

Perspective
2
Piero della Francesca. Ideal City (1475). Oil
on canvas.
3
What is Linear Perspective?
  • a system for representing three-dimensional space
    on a two-dimensional flat surface
  • developed in Florence in the early 15th century
    by Filippo Brunelleschi and Leon Batista Alberti

4
The Invention of Linear Perspective
5
Development of Linear Perspective
  • Filippo Brunelleschi (1377-1446) was the sculptor
    and architect who demonstrated the principles of
    perspective through mathematics
  • In 1415, Brunelleschi painted his picture of the
    Baptistery on the surface of a small mirror,
    right on top of its own reflection. 

The Baptistery in Florence
6
Brunelleschis Peep Show
  • To demonstrate the fact that his painting was
    indeed an exact replica that could fool the eye,
    Brunelleschi drilled a small hole in the mirror
    and then stood directly in front of the
    Baptistery, looking through the peephole to see
    the real building. 
  • He then held up a second, clean mirror in front
    of his painted panel.  The second mirror blocked
    the view of the real building, but now reflected
    his painted version on the original mirror.   
     

7
Brunelleschis Peep Show
  • By holding up the panel and pressing the hole to
    one eye while holding a mirror with the other
    hand, the viewer could see the paintings
    reflection.
  • A viewer standing in the cathedral doorway could
    check the painted illusion against the real view.

8
Leon Battista Alberti (1404-72)
  • architect and writer who was the first to
    formulate rules that artists could follow
  • imagined the picture surface as an open window
    through which a painted world is seen
  • showed how a perspective checkerboard pavement
    is created within the picture spacein which the
    receding parallel lines represent the visual rays
    connecting the spectators eye to a spot in the
    distance

9
Leon Batista Alberti
  • based his system on the height of the human
    figure, being 3 braccia tall
  • drew a rectangular picture area, imagined as an
    open window
  • divided the ground line into scaled braccia
  • fixed the central vanishing point by drawing a
    vertical line three braccia high
  • from the center of the ground line
  • drew diagonalsorthogonalsjoining the ground
    line to the vanishing point

10
Application of Linear Perspective
  • Brunelleschi devised the method of perspective
    for architectural purposes.
  • He is said by Manetti to have made a ground plan
    for the Church of Santo Spirito on the basis of
    which he produced a perspective drawing to show
    his clients how it would look after it was built.
  • We can compare this drawing with a modern photo
    of the actual church.

11
Application of Linear Perspective
Brunelleschi's proposal drawing of the  interior
of Santo Spirito (1543)
Interior of Brunelleschi's Santo Spirito
12
Early Approaches
  • Prior to the Renaissance, artists were less
    concerned with the illusion of reality and more
    concerned with the content and symbolism of their
    work.

13
Ancient Egyptian
  • only the front planes of objects are shown
  • figures assembled from separate views
  • depth suggested by overlapping forms

14
Byzantine/Medieval
Duccio di Buoninsegna. The Virgin and Child with
Saints (c.1315). Egg tempera on poplar.
  • the gold backgrounds suggest majesty and
    internal light
  • denies any sense of depth, allowing figures to
    inhabit a spiritual space
  • figures, however, modeled in light and shade

15
Defining Space Before the Renaissance
  • The size of each element in the image related
    much more to its importance, rather than it's
    placement in a space.

16
Judging by the Eye
  • Giotto introduced a new kind of realism by
    creating convincing spatial arrangements.
  • He angles the building, removing side walls to
    reveal the cubic interior.

Giotto. Birth of the Virgin Mary (1320s). Fresco.
17
Judging by the Eye
  • The sense of depth is partly achieved in this
    painting by the diminishing size of the floor
    tiles.
  • The receding lines of the floor converge toward a
    single focus (vanishing point), although the
    other receding diagonals converge toward points
    higher up in the picture.

Ambrogio Lorenzetti. The Presentation in the
Temple (1342). Tempera on wood.
18
Judging by the Eye
  • Dutch master van Eyck created highly convincing
    interiors and landscapes by relying on his own
    observations rather than theoretical rules.
  • In this painting, an intimate interior is created
    by the sloping lines of the boarded floor and
    beamed ceiling, the relative size of objects, and
    the use of light.

Jan van Eyck. The Arnolfini Marriage (1434). Oil
on oak.
19
A convex mirror, like the one in the painting,
may have been used by van Eyck as a
compositional aid.
20
The Renaissance
21
Masaccio a hole in the wall
  • Ten years after the invention of linear
    perspective, Masaccio applied the new method of
    mathematical perspective even more spectacularly.
  • This frescos painted architectural framework is
    so carefully constructed that it could almost
    have been translated from an architectural plan.

Masaccio. The Trinity (1427). Fresco.
22
A hole in the wall
The barrel vaulted ceiling is incredible in its
complex, mathematical use of perspective.
These lines eventually meet at a distance point
on the horizon line.
23
Paolo Uccello Playful Measurement
  • explored the geometry of nature and objects
  • studied how to solve perspective problems
  • combined scientific probing with the love of
    pattern and splendor

Chalice
24
Perspective in Wood
  • trompe loeil wood inlay panels
  • The private study of Federico da Montefeltro, the
    Duke of Urbino

25
Perspective in Wood
26
Perspective Eye Levels
27
Normal Viewpoint
28
Paolo Uccello. The Hunt in the Forest (1460s).
Oil on canvas.
29
High Viewpoint
30
Low Viewpoint
31
Bramantino. Adoration of the Kings (1498). Oil
on panel.
32
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33
Piero della Francesca Divine Measurement
Piero dell Francesca. The Flagellation (1460).
Tempera on wood.
34
Piero della Francesca Divine Measurement
  • perspective so logical and precise that scholars
    have been able to reconstruct the room as if it
    were real architecture
  • architectural proportions and dimensions reflect
    the divine order of things

35
Andrea Mantegna Eyewitness Art
  • perspective of the oculus constructed according
    to the upward gaze of an observer standing
    directly below

Andrea Mantegna. From The Painted Room
(1465-74). Fresco.
36
Andrea Mantegna Eyewitness Art
  • Christ shown in a dramatically foreshortened pose
  • heavy head propped on a pillow so that his
    features can be seen
  • feet projected out of the picture so viewer can
    focus on gaping wounds

Andrea Mantegna. Lamentation Over the Dead
Christ (1480). Distemper on canvas.
37
Perspective Foreshortening
  • Foreshortening is based on studies from life as
    well as perspective principles.
  • Figure is encased in a gridlike box divided
    into equal units.
  • When box is laid on the ground, the units
    diminish as they recede.

38
Leonardo da Vincis Explorations
The Last Supper (1497). Fresco.
39
Leonardo da Vincis Explorations
The Last Supper (1497). Fresco.
40
Leonardo da Vincis Explorations
The Last Supper (1497). Fresco.
41
Leonardo da Vincis Explorations
  • To seem like an extension of the refectory,
  • the vanishing pointwhich is on Christs
    right
  • eyeshould be lower, at the spectators
    level.
  • Instead, it is about 15 feet above the floor
  • level.
  • The strong pull of the perspective, however,
  • lifts the viewer from the floor to the
    correct
  • viewpointa strangely spiritual phenomenon.

Convent of Santa Maria delle Grazie, Milan
42
Aerial Perspective
  • Leonardo da Vinci

43
Aerial Perspective
Leonardo da Vinci. The Virgin of the Rocks
(1508). Oil on wood.
44
Atmospheric Perspective
  • a coloristic device used to accentuate the
    perception of distance
  • based on the optical effect caused by light being
    absorbed and reflected by the atmosphere a
    mist of dust and moisture
  • first used by Leonardo da Vinci

45
Albrecht Dürer
  • Perspective, Human Anatomy, and Proportions

46
Albrecht Dürer
  • He traveled to Italy to learn about perspective.
  • Besides his great studies of perspective, he was
    also interested in human anatomy and proportion.

Melancholia (1514). Copper engraving.
47
Dürers Perspective Aid
  • frame consisted of wooden
  • stand
  • grid threads probably made of
  • silk

The Draftsmans Net
48
Dürers Perspective Aid
  • The grid is used by the artist to copy the
    outline of the models form onto a squared
    drawing surface
  • An eyepiece, fixing the artists viewpoint, is
    positioned at a specific distancetwice the
    frames heightfrom the device.
  • The closer the net is placed to the object, the
    more foreshortened the perspective.

49
Anamorphic Art
  • Hidden Messages

50
Anamorphosis
  • refers to a deliberately distorted image, which,
    when viewed head on, is almost unrecognizable
  • only when the image is viewed from a certain
    angle does it appear

51
First Anamorph
Erhard Schon. Vexierbild or Puzzle Picture (1535)
When this fantastic landscape (on the left) is
viewed at a low angle from the left four
portraits emerge of Charles V, Ferdinand I Pope
Paul III and Francis I (shown at the right).
52
Anamorphic Art
Hans Hoblein, the Younger. The
Ambassadors (1533). Oil on wood.
53
Anamorphic Art
  • An anamorphic image is an extreme case of
    perspective, where the viewpoint is at the side,
    and near the plane, of the picture itself.

54
Drawing the Distorted Grid
  • A square grid is placed over a
  • scale drawing.
  • The artist then draws a distorted
  • grid onto which the design is
  • transferreda side view in which
  • the proportions are drastically
  • altered but the points of the grid
  • fall on the same place of the
  • design.

55
Anamorphic Art
  • This portrait superimposes the long-nosed,
    compressed head of a young boy on a panoramic
    landscape.
  • When the picture is viewed from the right-hand
    edge, the portrait is transformed into a living
    likeness of Edward VI.

William Scrots. Portrait of Edward VI (1546).
Oil on wood.
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