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Byzantine “perspective”—reverse perspective

Byzantine “perspective”—reverse perspective reverse perspective: parallel lines appear to diverge instead of converge the Byzantines did not conceive of pictorial space the way the Romans had—as a view of the natural world seen through a “window”

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Byzantine “perspective”—reverse perspective

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  1. Byzantine “perspective”—reverse perspective • reverse perspective: parallel lines appear to diverge instead of converge • the Byzantines did not conceive of pictorial space the way the Romans had—as a view of the natural world seen through a “window” • in the Byzantine aesthetic theory, invisible rays of sight joined the eye and image so that the pictorial space extended forward from the picture plane to the eye of the beholder and included the real space between them

  2. Empress Theodora and Her Attendants c. 547 mosaic on the south wall of the apse, Church of San Vitale, Ravenna Italy

  3. Medieval “Perspective” • How artists tried to create pictorial space or a sense of depth before Filippo Brunelleschi “rediscovered” linear perspective in about 1420. • pictorial elements are stacked on top of each other to create a sense of space or depth—look for rows of people or angels • thrones are often used to occupy space and create depth—angels and saints are often set up in rows alongside the throne’s sides • rocks or rocky hills angle across the pictorial frame and become slightly smaller to create sense of depth

  4. Feeding the Pigs with Acornsc. 1180Illumination on parchmentKoninklijke Bibliotheek, Den Haag

  5. Page with Christ in MajestyBook of Mark, Godescalc Evangelistary781-783ink, gold, colors on vellum Note the influence of a Roman visual vocabulary on this representation of Christ in Majesty. What is Christ doing? Why does the wall behind Christ represent?On what is Christ sitting?What is Christ holding--probably? What does the “strange” wide-eyed stare signify?

  6. Multiplication of the Loaves from Magdeburg Ivories962-968

  7. Death of the Virgin a detail from Duccio’s Maesta Altarpiece 1308-1311 Siena

  8. Duccio Maesta Altarpiece 1308-1311 Siena

  9. The Visitation Giotto di Bondone Arena Chapel Padua, Italyfor the Scrovegni family c. 1304-1313

  10. The Kiss of Judas Giotto di Bondone Arena Chapel Padua, Italyfor the Scrovegni family c. 1304-1313

  11. Lamentation (The Pieta) Giotto di Bondone Arena Chapel Padua, Italyfor the Scrovegni family c. 1304-1313

  12. February Limbourg Brothers(Paul, Herman, Jean)Tres Riches Heures 1413-1416

  13. December Limbourg Brothers(Paul, Herman, Jean)Tres Riches Heures 1413-1416

  14. Mary of Burgundy Painter page with Mary at her DevotionsHours of Mary of Burgundy1482

  15. Hour of Cowdust Punjab Hills, India Mughal period c.1790 gouache on paper

  16. Panoramic Perspective • No such comprehensive panorama of the natural world and its human inhabitants is know to us from the entire previous history of art. • No single point of view (he is a medieval painter)—the artist instead wants to show the viewer as much as he possibly can of the landscape. • To understand this view, what is necessary?

  17. detail: Effects of Good Government in the CountrysideAmbrogio Lorenzetti Allegory of the Good Government1338-40 fresco Palazzo Pubblico, Siena

  18. Mathematical PerspectiveLinear PerspectiveOne-Point Perspective • Humanist belief that “man is the measure of all things” altered the perspective used in works of art. • A man’s eye view began to replace a God’s eye view. • First demonstrated by Filippo Brunelleschi about 1420 • A mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position. • The picture’s surface is understood as a flat plane that intersects at a right angle with the viewer’s field of vision.

  19. Paolo Uccello Bernardino della Ciarda Thrown Off His Horse1450sTempera on wood, 182 x 220 cmGalleria degli Uffizi, Florence

  20. Paolo Uccello Miracle of the Desecrated Host (Scene 2)1465-69Panel, 43 x 58 cm

  21. Paolo Uccello St. George and the Dragonc. 1456Oil on canvas, 57 x 73 cmNational Gallery, London

  22. Paolo Uccello The Hunt in the Forest1460sTempera on wood, 65 x 165 cmAshmolean Museum, Oxford

  23. Paolo UccelloFunerary Monument to Sir John Hawkwood1436Fresco, Duomo, Florence

  24. Donatello Herod's Banquet 1427 bronze Baptistery,Siena

  25. Trinity 1425-28Fresco, 667 x 317 cmSanta Maria Novella, Florence

  26. Intuitive Perspectiveand Atmospheric Perspective Intuitive perspective is when an artist makes objects in the background smaller than objects in the foreground to visually signal that these objects are further away. Atmospheric perspective is when an artist softens or blurs the edges of objects in the extreme distance to imitate atmospheric effects—moisture in the air. The artist will also give these same objects a bluish tinge.

  27. Arrival in Basel(scene #2) from the Martyrdom of St. UrsulareliquaryHans Memling1489

  28. The Corn Harvest (August) Pieter Bruegel the Elder 1565

  29. Hunters in the Snow (January) Pieter Bruegel the Elder c. 1565

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