More perspective Using Linear and atmospheric perspective.
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Transcript of More perspective Using Linear and atmospheric perspective.
Perspective was a concept that had to be developed.
NO PERSPECTIV
E
Cimabue, Madonna Enthroned, 1280-90
Now we see perspective, and it looks real… with the exception of the “adult/baby”
There were suggestions of perspective in a Gothic era work.
However, perspective is a major development of the Renaissance.
GIOTTOMadonna in Glory
c. 1311Tempera on panel
128 x 90 1/2 in.
Judging by the Eye
Giotto introduced a new kind of realism by creating convincing spatial arrangements.
He angled the building, removing side walls to reveal the cubic interior.
Giotto. Birth of the Virgin Mary (1320s).Fresco.
Atmospheric Perspective, rewind!When using
atmospheric perspective…• hues more
bluish & more pale
• outlines less precise
• small details lost
• color contrasts muted
• gradual transition
Objects CLOSER
• Appear lower on the page
• Overlap- In front of• Are larger• Brighter colors• Darker value• More contrasts• More Details
Objects FARTHER
• Appear higher on the page
• Overlap-behind• Are smaller• Duller colors• Lighter value• Faint/fuzzy lines• Very few or not details
What is Linear Perspective?
A system for representing three-dimensional space on a two-dimensional flat surface.• It was developed in
Florence in the early 15th century by Filippo Brunelleschi and Leon Batista Alberti
Application of Linear Perspective
Brunelleschi's proposal drawing of the interior of Santo Spirito (1543)
Interior of Brunelleschi's Santo Spirito
Use lines to show the illusion of
depth.Receding lines (going back into space) meet at the vanishing pointThe vertical and horizontal lines are parallel to the edge of the paper
Atmospheric Perspective (in addition to 1 - pt. Perspective)
Perugino, Christ Delivering the Keys to St. Peter, c.1481 Sistine Chapel, Vatican
Atmospheric Perspective (in addition to 1 - pt. Perspective)
Perugino, Christ Delivering the Keys to St. Peter, c.1481 Sistine Chapel, Vatican
Canaletto (Giovanni Antonio Canal), The Campo di Rialtoc. 1758-63 Oil on canvas, 46 7/16 x 72 1/2 in
Canaletto (Giovanni Antonio Canal), The Campo di Rialtoc. 1758-63 Oil on canvas, 46 7/16 x 72 1/2 in
The vanishing point comes from below?
The vanishing point and perspective is constructed according to the upward gaze of an observer standing directly below.
Andrea Mantegna. From The Painted Room (1465-74). Fresco.