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P E R S P E C T I

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PerspectivePerspective Perspective PerspectivePerspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective Perspective

TYPES of PERSPECTIVE

Aerial (Bird’s Eye View)

Atmospheric

Linear

Worm’s Eye

Brunelleschi

One of the foremost architects and engineers of the

Italian Renaissance. He is perhaps most famous for

his discovery of perspective and for engineering the

dome of the Florence ... Wikipedia

Born: 1377, Florence, Italy

Died: April 15, 1446, Florence, Italy

Period: Renaissance

Buried: Florence Cathedral, Florence, Italy

Early in his architectural career (c. 1410-1415), Brunelleschi rediscovered the principles of linear perspective, known to ancient Greeks and Romans, but lost during the Middle Ages. With these principles, one can paint or draw using a single vanishing point, toward which all lines on the same plane appear to converge, and objects appear smaller as they recede into the distance.

Definition: linear perspective

n.

A form of perspective in drawing and painting in which parallel lines are represented as converging so as to give the illusion of depth and distance.

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.

Fine Arts & Visual Arts / Art Terms) the branch of perspective in which the apparent size and shape of objects and their position with respect to foreground and background are established by actual or suggested lines converging on the horizon

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

Aerial Perspective (Birds Eye View)

"I used to think of [collages] as drawings or studies for paintings - a way to compose in color and sharp contour freely and easily. In a way, pure abstract drawings. But in the past several years they've taken on a life of their own. The materials took over and the pure joy of making them on a larger scale suggested new graphic and compositional possibilities for both collage and painting.“

David Kapp

Definition: Worm’s Eye View

worm's–eye view  noun Full Definition of WORM'S-EYE VIEW :  a view as if by a worm from below or

the underside <from both the bird's-eye view of the executive and the worm's-eye view of the employee, she has been familiar with industrial problems — Current Biog.>

Atmospheric Perspective

Linear Perspective

Linear Perspective

is as easy as

1, 2, 3…

Massacio: The Holy Trinity

c. 1427

Fresco:667 x 317 cm

Santa Maria Novella, Florence

Use of Perspective

Although not the largest fresco of the time, The Holy

Trinity was a colossal undertaking, measuring 10 feet wide

and 22 feet high. Creating a fresco of this scale was

challenging, and the feat was further complicated by

Masaccio's brilliant construction of the painting applying

the newly devised theory of perspective created by

Brunelleschi. Masaccio's fresco exhibits nearly perfect one-

point perspective, creating a masterful illusion of depth

that allowed for the viewer to feel physically and

emotionally close to the figures, bringing the presence of

the Holy Trinity into the church in a tangible way.

Leonardo daVinci: Madonna of the Rocks (Virgin of the Rocks)

Compositional Analysis

Vermeer

Woman Holding a Balance

Woman Holding a Balance embodies a spiritual principle that is often manifest in Vermeer's work: the need to lead a balanced life. Though Vermeer's working methods remain a mystery, it is clear that he constructed this composition with extreme care. Orthogonal lines to the vanishing point meet precisely at the woman's finger.The frame behind her reinforces this focus. The balance point of the scales is exactly at the center of the painting. The woman's hands, the jewelry, and the tabletop form the shape of a pyramid. This imaginary pyramid supports the woman's hand and encloses the balance.Vermeer frequently modified the scale and even the shape of objects to achieve a desired effect. Note, for example, that the bottom edge of the frame around the Last Judgment scene is higher in front of the woman than behind her, to allow sufficient space for the balance.The interplay of verticals and horizontals, of mass against void, and of light against dark creates a carefully balanced, but never static, composition. This underlying pictorial structure subtly reinforces the theme of spiritual moderation.

BiographyJohannes Vermeer (Dutch, 1632-1675)

The life and art of Johannes Vermeer are closely associated with the city of Delft. Vermeer was born in Delft in 1632 and lived there until his death in 1675. His father, Reynier Jansz., was a weaver who produced "caffa," a fine satin fabric. In 1631 he also registered in the Saint Luke's Guild in Delft as a master art dealer. By 1641 he was sufficiently prosperous to purchase a large house with an inn, the "Mechelen," on the market square in Delft, where he probably also sold paintings. When Reynier died in 1652 Johannes apparently inherited his father's business. By that time he must have already decided on a career as a painter. It is assumed that he trained in Delft, perhaps with Leonaert Bramer (1596-1674), who seems to have had close associations with Vermeer's family, or with Carel Fabritius (1622-1654). No documents, however, exist about his artistic training or apprenticeship, and he may have studied elsewhere, perhaps in Utrecht or Amsterdam.

Vermeer, who was baptized on 31 October 1632 in the Reformed Church in Delft, was raised a Protestant. In April 1653 Vermeer married into a Catholic family and seems to have converted to Catholicism shortly before that date to placate his future mother-in-law, Maria Thins. Maria Thins lived in the so-called Papists' Corner ("Papenhoek") of Delft, adjacent to one of the two churches where Catholics could worship, the Jesuit church on the Oude Langendijck. Vermeer and his wife, Catharina Bolnes, eventually moved from the "Mechelen" into her house. They named their first daughter Maria, in honor of Maria Thins, and their first son Ignatius, after the patron saint of the Jesuit Order.

Vermeer became a master in the Saint Luke's Guild on 29 December 1653. His aspiration at that time seems to have been to become a history painter, for his first works were large-scale mythological and religious paintings. Shortly thereafter he began to paint the genre scenes, landscapes, and allegories for which he has become renowned. While Vermeer's subject matter changed in the mid-1650s, he nevertheless continued to imbue his later works with the quiet, intimate moods of his early history paintings.

Although very little is known about relationships with other painters who might have influenced the thematic and stylistic direction of his art, Vermeer apparently knew Gerard ter Borch II, with whom he co-signed a document in 1653. Another artist who may well have had an impact on his work during the 1650s was Pieter de Hooch, who painted comparable scenes in Delft during that period. Vermeer remained a respected artist in Delft throughout the rest of his life. He was named hoofdman of the Delft St. Luke's Guild in 1662, 1663, 1670, and 1671.

Vermeer's few works--they number only about thirty-five--were not well known outside of Delft, perhaps because many of them were concentrated in the collection of a patron in Delft who seems to have had a special relationship with the artist. When Vermeer died, however, he was heavily in debt, in part because his art dealing business had suffered during the difficult economic times following the French invasion of the Netherlands in the early 1670s. Vermeer was survived by his wife Catharina and eleven children, eight of whom were underage. His wife petitioned for bankruptcy the following year. Antonie van Leeuwenhoek, the famed Delft microscopist who was apparently a friend of Vermeer, was named trustee for the estate.

The AmbassadorsArtistHans Holbein the YoungerArtist dates1497/8 - 1543Full titleJean de Dinteville and Georges de Selve ('The Ambassadors')Date made1533Medium and supportOil on oakDimensions207 x209.5 cmInscription summarySigned; Dated and inscribedAcquisition creditBought, 1890

M.C. Escher

Examples of Student Perspective Drawings

S t u d e n t A r t u s i n g P e r s p e c t i v e

Anamorphic Art and Perspective

More Anamorphic Art drawings

More examples of atmospheric perspective

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