Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

9
Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Transcript of Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Page 1: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 1

Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Page 2: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 2

One-point perspective

Two-point perspective

Page 3: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 3A technique but also an ideology

Masolino, The Healing of the Cripple and the Raising of Tabitha, 1425

Page 4: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 4 (other perspectives)

Axonometric perspective

Page 5: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 5 (anamorphosis)

Hans Holbein, The Ambassadors [Jean de Dinteville et Georges de Selve] 1533, National Gallery, London,

Page 6: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 5 (anamorphosis)

Hans Holbein, The Ambassadors [Jean de Dinteville et Georges de Selve] 1533, National Gallery, London,

Page 7: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 5 (anamorphosis)

Hans Holbein, The Ambassadors [Jean de Dinteville et Georges de Selve] 1533, National Gallery, London,

Page 8: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Perspective 6 (photography: lenses and depth of field)

Photographic depth of field

From wide angle to telephoto

Page 9: Perspective 1 Pietro Perugino,infresco of the Sistine Chapel (1481–82)

Muhammed Ali, 1960s

Depth of field