Slide 1
Linear perspective connects painted space to a viewpoint
Linear perspective organises a flat image so that space appears to recede. It relates depicted positions to a chosen viewpoint.
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Objects of similar real size can appear progressively smaller in depth. This gives the artist a consistent way to connect nearby and distant forms within one constructed space.
Slide 2
Receding parallel lines meet at a vanishing point
In one-point perspective, a set of parallel lines receding directly away from the viewer converges towards a vanishing point in the picture.
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The real edges do not need to meet. Their convergence belongs to the projected image, which translates a three-dimensional arrangement onto a two-dimensional surface.
Slide 3
Repeated edges guide the eye into that space
A tiled floor or repeated architectural edge can make perspective easy to recognise. Its receding pattern gives the eye a route into painted space.
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The vanishing point can also organise attention within the composition. Its placement is a design choice, even when the surrounding construction follows a geometric method.
Slide 4
Brunelleschi experimented; Alberti described a method
Brunelleschi's experiments in Florence helped establish an influential perspective system. Alberti later described a method for painters in De Pictura.
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A written account made the system something that could be explained and taught. The history concerns the communication of a method as well as individual convincing paintings.
Slide 5
Netherlandish painters built convincing space in other ways
Early Netherlandish painters also made persuasive pictorial spaces. Their practice did not simply duplicate the formal Italian system.
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A painting can create depth through several cues, including scale and overlap. Recognising a convincing room does not establish that its maker used one particular mathematical construction.
Sources
- Perspective glossary
National Gallery
- European Renaissance Art, part two
National Gallery of Art