What is Linear Perspective? developed in Florence in the early 15th century by Filippo Brunelleschi and Leon Batista Alberti
Development of Linear Perspective Filippo Brunelleschi (1377-1446) was the sculptor and architect who demonstrated the principles of perspective through mathematicsIn 1415, Brunelleschi painted his picture of the Baptistery on the surface of a small mirror, right on top of its own reflection.
Brunelleschi’s “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.
Brunelleschi’s “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 painting’s reflection.A viewer standing in the cathedral doorway could check the painted illusion against the real view.
Leon Battista Alberti (1404-72) architect and writer who was the first to formulate rules that artists could followimagined the picture surface as an “open window” through which a painted world is seenshowed how a perspective “checkerboard pavement” is created within the picture space—in which the receding parallel lines represent the visual rays connecting the spectator’s eye to a spot in the distance
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.
Application of Linear Perspective
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.
Ancient Egyptian only the front planes of objects are showndepth suggested by overlapping forms
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.
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.
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.
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.
The Renaissance
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 fresco’s painted architectural framework is so carefully constructed that it could almost have been translated from an architectural plan.
A “hole in the wall”
Paolo Uccello: Playful Measurement explored the geometry of nature and objectscombined scientific probing with the love of pattern and splendor
Perspective in Wood trompe l’oeil wood inlay panelsThe private study of Federico da Montefeltro, the Duke of Urbino
Perspective in Wood
Normal Viewpoint
High Viewpoint
Low Viewpoint
Piero della Francesca: Divine Measurement perspective so logical and precise that scholars have been able to reconstruct the room as if it were real architecturearchitectural proportions and dimensions reflect the divine order of things
perspective of the oculus constructed according to the upward gaze of an observer standing directly below
Andrea Mantegna: Eyewitness Art Christ shown in a dramatically foreshortened poseheavy head propped on a pillow so that his features can be seenfeet projected out of the picture so viewer can focus on gaping wounds
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.
Leonardo da Vinci’s Explorations
Leonardo da Vinci’s Explorations
Leonardo da Vinci’s Explorations
Leonardo da Vinci’s Explorations
Aerial Perspective
Aerial Perspective
Atmospheric Perspective a coloristic device used to accentuate the perception of distancebased on the optical effect caused by light being absorbed and reflected by the “atmosphere”: a mist of dust and moisturefirst used by Leonardo da Vinci
Albrecht Dürer Perspective, Human Anatomy, and Proportions
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.
frame consisted of wooden standgrid threads probably made of silk
Dürer’s Perspective Aid The grid is used by the artist to copy the outline of the model’s form onto a squared drawing surfaceAn eyepiece, fixing the artist’s viewpoint, is positioned at a specific distance—twice the frame’s height—from the device.The closer the net is placed to the object, the more foreshortened the perspective.
Anamorphic Art
Anamorphosis refers to a deliberately distorted image, which, when viewed head on, is almost unrecognizable
First Anamorph
Anamorphic Art
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.
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.
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