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Perspective
What Is It?
perspective A quasi-mathematical system for the representation of three-dimensional objects in spatial recession on a two-dimensional surface, i.e. for
the creation of an independent pictorial space as a microcosm of nature. As
normally practised now, perspective is a sophisticated version of the costruzione
legittima invented in the early 15th century, perhaps by Brunelleschi, and
improved by Alberti, Uccello and Piero delta
Francesca. The basic assumption of all perspective systems is that parallel lines never meet, but that they
appear to do so; and that, further, all parallel lines going in any one direction
meet at a single point on the horizon known as a vanishing point (VP). The
early systems were based on a single, central vanishing point; all other parallels
were automatically assumed to be parallel to the picture plane and therefore
exempt from the assumption that they must meet at some point in the distance.
This system is perfectly satisfactory as an aesthetic system, i.e. for the creation
of an independent order of reality, a picture-world distinct from the real world;
but it is inadequate for an exact representation of physical reality. In order to
obtain this greater naturalism - with all the possibilities of illusionism
it implies
system was evolved which uses two VPs on the horizon, and more if
necessary to obtain up-hill and down-dale effects. A further refinement is the
use of measuring points, which allow the exact representation of objects to
scale. All this can be learnt by any moderately mathematically-minded art
student in a few hours; for this very reason, many artists are no longer interested
in verisimilitude of space and prefer either to renounce the representation of
the third dimension altogether (as most abstract artists do), or else to create a
spatial illusion of their own, stressing the independence of the world created
by the artist from laws which govern appearance in the physical world.
Aerial perspective deals with the changes in tone and colour values which
are observable in objects receding from the spectator. Because of the density
of the atmosphere all tone contrasts are muted and all colours tend towards
blue in proportion to their distance from the observer. Thus, mountains in the
background are always bluish. The difference between the atmospheres of
Northern Europe and the Mediterranean accounts for the greater interest in
aerial perspective to be found in the North, particularly among the Impressionists.
Source: The Penguin Dictionary of Art and Artists (Penguin Reference Books)
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