fna 247 02_perspective_pks
DESCRIPTION
Optical illusions have appealed to the mind of spectators throughout history, and have had great impact when combined with architectural elements. Illusionary methods have been used by artists and architects since antiquity, but only during the Renaissance were they scientifically analysed to produce the techniques of perspective, anamorphosis, and their integration with trompe l’oeil. This paper is a study of these methods employed by artists and architects, focusing on the invention and evolution of the technique of anamorphosis from its birth during the Italian Renaissance. By analysing a compilation of early and contemporary cases of architectural illusionism in two and three dimensions, the methods used to manipulate observers’ perceptions are explored in detail. By reintroducing these techniques of the past into contemporary practice they can prove very beneficial by producing enhancing spaces when spatial or economic restraints must be overcomeUccello, Mantegna, masschio, and Leonardo da VinceTRANSCRIPT
PERSPECTIVE
FACULTY : PRASAD SWAIN
Assistant professor
Print Making
Faculty of Fine Arts.
UDI - 18765
Mail Id: [email protected] , [email protected]
Punjab +91-9872443281, Baroda +91-9979977108
COURSE CODE :FNA 247
Domain Code: AD 07, Course Planner : 18765: prasad swain
Teachers Manual
Course Title: Perspective 1 PICTORIAL COMPOSITION -1
01/09/14-05/09/14 ,8 C -702
Edited by Dr. Abid Hadi The Head Faculty of Fine Arts , LPU , INDIA
A B S T R A C T
Optical illusions have appealed to the mind of spectators throughout
history, and have had great impact when combined with architectural
elements. Illusionary methods have been used by artists and architects
since antiquity, but only during the Renaissance were they scientifically
analysed to produce the techniques of perspective, anamorphosis,
and their integration with trompe l’oeil. This paper is a study of these
methods employed by artists and architects, focusing on the invention
and evolution of the technique of anamorphosis from its birth during
the Italian Renaissance. By analysing a compilation of early and
contemporary cases of architectural illusionism in two and three
dimensions, the methods used to manipulate observers’ perceptions
are explored in detail. By reintroducing these techniques of the past
into contemporary practice they can prove very beneficial by
producing enhancing spaces when spatial or economic restraints must
be overcome.
ILLUSION OF plane Dematerialization
Mediterranean and Eastern cultures have exhibited ‘patterned optical
illusions’ on floors of tiles or woodwork, which seem to deconstruct
the flat floor plane and create additional illusory ones. Examples have
been found in a number of countries including Japan, China, India,
Persia, and Italy.
Tiled pavement, Pompeii (Italy)
ILLUSION OF plane Dematerialization
Tiled floor in the Scuola Grande
di S. Giovanni Evangelista, Venice (Italy)
An image created with linear perspective is ‘an instantaneous section
of the straight lines that join a point in space’ along with the prominent
characteristics of the objects in the scene. It is a method used to
represent ‘a three-dimensional scene’ which ‘is inferred from a two
dimensional
image’. This is an illusion that persuades the viewer that a
three dimensional scene is before them.
Vitruvius mentions Agatharcus of Samos,
in Ancient Greece, to be the
first to realise that parallel lines converge
to a single ‘vanishing point’. In 458 BC, he
created ‘perspectives’ which were
apparently painted upon a flat plane for the
stage scenery for Aeschylus’s, and in all
probability Sophocles’s, tragedies
.
Vitruvius mentions Agatharcus of Samos, in Ancient Greece
Vitruvius mentions Agatharcus of Samos, in Ancient Greece
Vitruvius mentions Agatharcus of Samos, in Ancient Greece
Vitruvius mentions Agatharcus of Samos, in Ancient Greece
Euclid’s work was translated, in the 12th century, from Arabic to Latin
The early history of perspective begins ‘after the end of the Greco-
Roman’ period. For a long time the technique was forgotten, only to
gradually resurface through artists. It was developed during
the Italian Renaissance, a time of ‘rebirth’ and explosion of artistic
growth and discovery, when artists and architects explored, adapted,
and mastered the technique for their creations.
The ‘sciences of Antiquity’ are believed to have been handed over
from Islam through the Middle Ages, and even Euclid’s work was
translated, in the 12th century, from Arabic to Latin, instead from the
original Greek. ‘By a curious contradiction, it was the culture most
hostile to vision in depth and in relief in painting and decoration that
taught its principles.’ Art and Science joined forces in Italy in the early
15th century, when artists such as Ghiberti, Alberti, Piero della
Francesca, Leonardo da Vinci, Jean Pelerin (Viator), Durer,
Vignola,
Serlio, Barbaro, and Cousin ‘applied mathematical theories
methodically and elaborated procedures for dealing with all possible
forms’. ‘Perspective was “the product of two disciplines - the study
of optics and practical experimentation by painters.”
The ‘sciences of Antiquity’ are believed to
have been handed over
from Islam through the Middle Ages, and even Euclid’s work was
translated, in the 12th century, from
Arabic to Latin, instead from the
original Greek. ‘By a curious contradiction, it
was the culture most
hostile to vision in depth and in relief in
painting and decoration that
taught its principles.’ Art and Science joined
forces in Italy in the early
15th century
Raphael ‘school of Athens’ Euclid
drawing with compass
Euclid-Ancient-Greek-Mathematician , Father of Geometry
entrance-to-a-greek-temple-in-perspective-black
Pompejian_fresco
Raphel ‘ school of athens
Magritte ‘The Promenades of Euclid’
Magritte ’DomainOfArnheim’
M.C. ESCHER INSPIRED from Eculid
hazard-stairs-florin-birjoveanu
Six point perspective
Two point perspective drawings
PERSPECTIVE
Perspective is the means by which an
illusion of three dimensional space is
created on a two dimensional pictorial
space in European art it was used in during
roman paintings. It was revealed once
again during the Renaissance period.
The renaissance perspective is also known
as scientific or geometric as it is based on
mathematical calculations and geometry.
It is also known as optical are linear
perspective as it is based on converge
lines
Scientific perspective is based upon the
optical impression that parallel lines
converge as their recede towards into the
space and meet at a single point know as
the horizon line which the parallel to the
viewers eye.
During the renaissance FILIPPO
BRUNELLESCHI Italian architect and
sculptor formulated the loss of perspective
for the first time his friend and sculptor
Alberti wrote a book called as ‘on painting’
in which he wrote instructions on
perspective rules for painters.
Jan Van Eyck
Kiki smith ‘mary-magdalen’
tilman-riemenschneider-mary-magdalen-with-two-angels-
Leanardo ‘ vitruvius’
Several renaissance painters used
perspective as a means to create three
dimensional space and depth they include
Paolo Uccello, Mantegna, masschio, and
Leonardo da Vince
In sculpture Alberti and Donatello used
scientific perspectives in their low relief
sculptures
Pavlo vccello
Pavlov the inventor of perspectives belongs to
Renaissance
LORENZETTI theories of perspectives
DUCCIO : the conquest of pictorial spaces , christ
Entering Jerusalem’ 1308-11 tempera on panel
103 x 53.7 cm
Giotto father of Renaissance
Mantegna most famous painting is dead Christ
Jan van Eyck famous painting is wedding portrait
Masaccio famous painting is holy trinity
Main features Renaissance period
Scientific perspectives'
Centralized perspectives'
Optical perspectives'
Florence Cathedral began by ARNOLFO DI
CAMBIO 1296 ; Dome by FILIPPO BRUNELLESCHI
1420 -36
Lorenzo Ghiberti (c. 1381- 1455) the
commentaries, from book 2
How things seen reach the eye and how the
power of vision works, and how visual [ word
missing] works, and how visual things move and
how the theory of sculpture and painting ought to
be pursued
UCCELLO
A PIONEER OF PERSPECTIVE
One of the most innovative figures of the 15 th
century, DONATELLO (C. 1386-1466) WAS THE
FIRST ARTTIST TO MASTER THE TECHNIQUE OF
LINEAR PERSPECTIVE
IN 1417 HE BEGUN TO USE PERSPECTIVE IN HIS
RELIEF SCULPTURE TO CREATE THE ILLUSION
OF A CLEARLY DEFINED SPACE . HIS
PIONEERING WORK EXERTED AN ENORMOUS
INFLUENCE ON PAINTERS AND SCULPTORS
ALIKE . DURING THE 1440s, DONATELLO BEGAN
TO DEVELOP THE DRAMATIC POSSIBILITES OF
PERSPECTIVES IN A SERIES OF BRONZE RELIEFS
The great artist 34- uccello page no 1060
FOR THE HIGH ALTAR OF SANT’ ANTONIO IN
PADUA. UCCELLO ALTHOUGH IT SEEMS THAT HE
WAS NOT DIRECTLY INVOLVED WITH HIS
FRIEND’S WORK, HE WAS GREATLY IMPRESSED
BY DANATELLO’S SOPHISTICATED USE OF
PERSPECTIVE. UCCELLO LATER WORK REVEL
THE IMPACT OF HIS FRIEND’S REVOLUTIONNARY
IDEAS ON PERSPECTIVE
RELIEF OF THE MIRACLE OF THE PENITENT SON
THIS RELIEF FROM THE HIGH ALTAR OF SANT
ANTONIO, WITH ITS DRAMATIC SPATIAL
CONSTRUCTION, MAY HAVE INSPIRED THE
COMPOSITION OF UCCELLO’S FLOOD, PAINTED
AFTER HIS RETURN FROM PADUA
The great artist 34- uccello page no 1060
EXERCISE IN PERSPECTIVE
IN 1443 , THE SAME YEAR AS UCCELLO MADE
HIS CARTOONS FOR THE DUOMO’S/ CATHEDRAL
WINDOWS, HE ALSO PAINTED A CLOCK – FACE
FOR THE INTERIOR USING LINEAR PERSPECTIVE
TO CREATE THE ILLUSION OF A THREE-
DIMENSIONAL SPACE.
The great artist 34- uccello page no 1061
Alberti perspective system
Exploring perspective Albert’s system involved
dividing the base line of the picture into equal
sections and joining them to a central vanishing
point which determined the horizon. A separate
side elevation established the position of the
horizontal lines which divide picture plane into
foreshortened pavement
EXPERIMENTS WITH PERSPECTIVE
UCCELLO’S INNOVATIVE AND DECORATIVE USE
OF PERSPECTIVE , COMBINED WITH HIS FLAIR
FOR COLOUR , GIVES HIS PICTURES A UNIQUE
CHARM THT SETS THEM APART FROM THE
OTHER PAINTINGS OF HIS TIME
EXPLORING PERSPECTIVE ALBERTIS SYSTEM
INVOLVED DIVIDING THE BASE LINE THE
PICTURE INTO EQUAL SECTIONS AND JOINING
THEM TO A CENTRAL VANISHING POINT WHICH
DETERMINED THE HORIZION. A SEPARATE SIDE
ELEVATION ESTABLISED THE POSITION OF THE
HORIZONTAL LINE WHICH DIVIDE THE PICTURE
PLANE INTO A FORESHORTENED PAVEMENT
TRADEMARKS
PERSPECTIVE SYSTEMS
IN MOST OF HIS PAINTING S UCCELLO USES
RIGOROUS PERSPECTIVES SYSTEMS TO CREATE
THE ILLUSION OF DITAANCE . THE PERSPECTIVE
‘GRID’ IS OFTEN DELIBERATELY EMPPHASIZED
BY THE USE OF CAREFULLY SQUAREED
FLOORING , OR BY PLACING OBJECTS
STRAGTEGICALLY ALONG THE ORTHOGONALS
OR DIAGONAL PERSPECTIVE LINES
Uccello
Uccello, perspective study of a chalice This painstaking and detailed pen
drawing shows Uccello’s meticulous study of perspective and his concern
with geometric forms
Uccello
Uccello
Callable
Uccello ‘the profanation of the Host’ ( 1465-8) these two
scenes are the first in a series of six which make up the
predella painted by Uccello for the altar of the church of
Corpus Domini . The perspective system is employed
scientifically, rather than decoratively, to give the illusion
of three- dimensional reality, and is made explicit by the
flagstones on the floor because of the small scale of the
work the figures are simplified and brightly color often
The perspective ‘grid ‘ is the deliberately emphasized by
the use of carefully squared flooring, or by placing objects
strategically along the orthognals or diagonal perspective
lines
Uccello
uccelo
Uccelo ‘battle of san Romano’ 1456-60 An emphasis on
perspective in this painting liner perspective is confined
to the foreground of the scene. Broken lances indicate the
orthogonal and horizontals, and a fallen soldier and
scattered pieces of broken armor are foreshortened in
relation to the perspective grid
Masaccio
Uccelo ‘saint George and the Dragon’ 1455-60 22 X 28 , He formalized
depiction of the landscape and the clouds.
Prasad swain ‘Composition of Faculty Fine Arts Andhra
University ’ Studies on multiple perspectives done under
Prof. V. Ramesh pencil drawing on paper 2002
Prasad swain ‘dust
and bones’ pencil
on paper 2003,
drawing done under t.
sudhakar reddy
Prasad swain ,
‘wounds and plaster’
pencil drawing paper
2003, drawing done
under t. sudhakar
reddy
Prasad swain ‘ paranoid dream’ pencil drawing on paper 28 X 18 inches , 2004