Box spaces in pictorial space: linear perspective versus templates

2012 ◽  
Author(s):  
Huib de Ridder ◽  
Sylvia C. Pont
Keyword(s):  
Linear Perspective ◽  
Pictorial Space

Salvation in Perspective: A New Interpretation of Piero Della Francesca’s Flagellation of Christ

2017 ◽  
Vol 72 (3) ◽  
pp. 489-523
Author(s):  
Franck Mercier
Keyword(s):  
Subject Matter ◽  
Saint Augustine ◽  
The Other ◽  
Linear Perspective ◽  
Byzantine Empire ◽  
Spiritual Exercise ◽  
Pictorial Space ◽  
The Subject ◽  
New Interpretation ◽  
The Right

An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Continuing in a rich and varied hermeneutic tradition, this article proposes a new interpretation of this famous painting, diverging both from a political reading (based on the supposed links with the Byzantine Empire) and from the other traditional solution which argues for the ordinary nature of Piero’s iconography. The analysis of the geometrical pictorial space and its potential theological significance leads to a reconsideration of the painting as a visual meditation on temporality inspired by Saint Augustine, as well as a singular spiritual exercise.

scholarly journals Architectural Perspective in Italian paintings of the 14th century

2020 ◽  
Vol 14 (1) ◽  
pp. 339-365
Author(s):  
Andrey Schetnikov
Keyword(s):  
Linear Perspective ◽  
14Th Century ◽  
Pictorial Space ◽  
Pictorial Depth ◽  
Impossible Figures ◽  
Architectural Perspective

This paper discusses the system of the pictorial depth representation, typical for Giotto and other Italian artists of 14th century. Differing from the linear perspective, this system has a number of peculiar features, and its own consistent logic for the formation of pictorial space. The paper is especially focused on the contradictions of such a system, which lead to the appearance of impossible figures, and the ways in which the artists solved these difficulties.

scholarly journals Kuss eines Zyklopen. Die umgekehrte Perspektive Florenskis zwischen Kultbild und Kunstbild

2019 ◽  
Vol 82 (1) ◽  
pp. 115-133
Author(s):  
Fabian Heffermehl
Keyword(s):  
Binocular Vision ◽  
Cultural Criticism ◽  
Linear Perspective ◽  
Russian Orthodox ◽  
Main Principle ◽  
Pictorial Space ◽  
Renaissance Painting ◽  
Pavel Florensky

Abstract With his Reverse Perspective (1919) the Armeno-Russian theologian and mathematician Pavel Florensky denounced the monocular, ‘cyclopean’ vision otherwise seen as the main principle in Renaissance painting. Florensky connected the medieval icon with an ‘organic idea’ involving 1) binocular vision, 2) the observer’s movement in pictorial space, and 3) tactile proximity between observer and image. This article explores how ideas of perception relate to Florensky’s cultural criticism. His reverse perspective emerges as a complex controversy, not only between two principles in painting – the icon and the linear perspective. Florensky also challenges himself as a westernized intellectual, who, rooted in Orientalism, fails to defend a Russian Orthodox worldview.

Caution—Objects Are Closer Than They Appear: Perspectively Inverted Pseudoscopic Images behind Accelerated Space

Leonardo ◽  
2005 ◽  
Vol 38 (3) ◽  
pp. 245-253
Author(s):  
Glenn Biegon
Keyword(s):  
Linear Perspective ◽  
Set Design ◽  
3D Images ◽  
Pictorial Space ◽  
Relief Sculpture ◽  
2D And 3D ◽  
Binocular Depth

Perspective inversion reverses the flow of naturalistic pictorial space, creating a disorienting, anti-naturalistic sense of space. Inverted perspective's subversive power appears limited, however, given that no art-historical examples depict fully inverted objects in systematically inverted “unlimited spaces,” such as landscapes. The author addresses this limitation through analysis of “converse” and “pseudoscopic” 3D images—Charles Wheat-stone's two paradigms for inverting binocular depth. Wheatstone's inverted imagery proves geometrically identical to 3D art-historical precedents that conceal their perspective inversion: namely, relief sculpture, set design and architecture employing three-dimensionally “forced” perspective. As hinted by depth-inverted stereograms, linear perspective employed together with reversed overlapping cues systematically inverts unlimited space in both 2D and 3D pictures.

Pictorial space perception, body sway and eye movements

2013 ◽  
Author(s):  
Joanna Ganczarek ◽  
Vezio Ruggieri ◽  
Marta Olivetti Belardinelli ◽  
Daniele Nardi
Keyword(s):  
Eye Movements ◽  
Space Perception ◽  
Body Sway ◽  
Pictorial Space

scholarly journals Generative Models for Relief Perspective Architectures

2021 ◽  
Author(s):  
Leonardo Baglioni ◽  
Federico Fallavollita
Keyword(s):  
Research Methodology ◽  
Affine Space ◽  
Three Dimensional ◽  
Generative Models ◽  
Linear Perspective ◽  
Dimensional Structure ◽  
Three Dimensional Structure ◽  
Present Essay ◽  
Santa Maria

AbstractThe present essay investigates the potential of generative representation applied to the study of relief perspective architectures realized in Italy between the sixteenth and seventeenth centuries. In arts, and architecture in particular, relief perspective is a three-dimensional structure able to create the illusion of great depths in small spaces. A method of investigation applied to the case study of the Avila Chapel in Santa Maria in Trastevere in Rome (Antonio Gherardi 1678) is proposed. The research methodology can be extended to other cases and is based on the use of a Relief Perspective Camera, which can create both a linear perspective and a relief perspective. Experimenting mechanically and automatically the perspective transformations from the affine space to the illusory space and vice versa has allowed us to see the case study in a different light.

Geometric Transformations of Pictured Space

Perception ◽  
1978 ◽  
Vol 7 (3) ◽  
pp. 269-282 ◽  
Author(s):  
James Farber ◽  
Richard R Rosinski
Keyword(s):  
Geometric Analysis ◽  
Space Perception ◽  
Unique Point ◽  
Geometric Transformations ◽  
Pictorial Space ◽  
Pictorial Perception ◽  
Correct Point

In general, a picture can represent a specific environment or scene only when the picture is seen from a unique viewing point. The determination of this unique point and of the distortions that occur when the picture is viewed from other points is crucial to all aspects of pictorial perception. To clarify the effects of the point of observation on pictorial space, the present paper discusses how the correct point may be calculated, provides a geometric analysis of the effects of altering the viewing point, and briefly reviews the effects of such alterations on space perception.

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