Art Appreciation

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Chapter 1.3 Implied Depth: Value and Space

PART 1

FUNDAMENTALS

Copyright © 2015 Thames & Hudson

Introduction

Techniques artists use to imply depth are:

Value

Space

Perspective

PART 1

FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: René Magritte, The Treachery of Images

1.3.1 René Magritte, The Treachery of Images (“This Is Not a Pipe”), 1929. 23¾ × 32".

Los Angeles County Museum of Art (LACMA), California

René Magritte, The Treachery of Images

Magritte uses value and perspective to imply depth

He wants us to recognize that what appears to be a pipe is not really a pipe: it is an illusion

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Belgian Surrealist artist René Magritte (1898–1967) invites us to re-examine our habits of visual perception

The painted shadows suggest depth

The top of the pipe bowl is composed of two concentric ellipses, which is how circles appear in perspective

Value

Value refers to lightness and darkness

An artist’s use of value can produce a sense of solidity and influence mood

Artists use dark and light values as tools for creating depth

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

For example, the serious mood of film noir (French for “dark film”) was enhanced by the filmmaker’s choice of dark values.

Value and Light

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Chapter 1.3 Implied Depth: Value and Space

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Artwork: Spaceship Earth

1.3.2 Spaceship Earth, Future World, Walt Disney World Resort, Orlando, Florida

Spaceship Earth

Many triangular flat planes make up this surface

Each plane has a different relative degree of lightness or darkness

Value changes often occur gradually

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The relative dark values increase as the planes get further away and face away from the light source

Spaceship Earth – a large sphere, inside which is an educational ride, located in the Future World area of Walt Disney World Resort

Values and Planes of a Geodesic Sphere

1.3.3 Values and planes of a geodesic sphere

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

There is a value range of black, white, and eight values of gray.

Chiaroscuro

This method of applying value to a two-dimensional artwork creates the illusion of three dimensions

Italian for “light-dark”

Renaissance artists identified five distinct areas of light and shadow:

Highlight, light, core shadow, reflected light, and cast shadow

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Diagram of Chiaroscuro

1.3.4 Diagram of chiaroscuro

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Artwork: Pierre-Paul Prud’hon, La Source

1.3.5 Pierre-Paul Prud’hon,

La Source, c. 1800–10. Black and white chalk, stumped, on light blue paper, 21⅛ × 15⅜". Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

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Pierre-Paul Prud’hon, La Source

Prud’hon uses chiaroscuro in this artwork

Black and white chalk on light blue paper allows the artist to accentuate the lightest and darkest areas

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chiaroscuro in Pierre-Paul Prud’hon's La Source

1.3.5 Chiaroscuro graphic applied to Pierre-Paul Prud’hon, La Source, c. 1800–10. Black and white chalk, stumped, on light blue paper, , 21⅛ × 15⅜”. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

There is an area of highlight on the knee, leading into the lighted thigh

Under the knee and thigh there is a strong core shadow

Reflected light can be seen on the calf and the underside of the thigh

The reflected light is accented by the dark cast shadow behind the calf

Artwork: Caravaggio, The Calling of St. Matthew

1.3.6 Caravaggio, The Calling of St. Matthew, c. 1599–1600. Oil on canvas, 11'1" × 11'5".

Contarelli Chapel, San Luigi dei Francesci, Rome, Italy

Caravaggio, The Calling of St. Matthew

Chiaroscuro can produce dramatic effects

The intense difference between light and dark places emphasis on Christ’s hand

The light also frames Matthew

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Italian artist Caravaggio (1571–1610) uses strongly contrasting values to convert a quiet gathering into a pivotal and powerful event.

Hatching and Cross-Hatching

Hatching consists of a series of lines, close to and parallel to each other

Cross-hatching is a variant of hatching in which the lines overlap

Used to express value and create a greater sense of form and depth

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Diagram of Hatching and Cross-Hatching

1.3.7 Creating value using hatching and cross-hatching

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Artwork: Michelangelo, Head of a Satyr

1.3.8 Michelangelo, Head of a Satyr, c. 1520–30.

Pen and ink on paper, 10⅝ × 7⅞". Musée du Louvre,

Paris, France

Michelangelo, Head of a Satyr

This artwork is a cross-hatched pen-and-ink drawing

Gives the face solidity and depth

By building up layers of brown ink, Michelangelo overcomes the restrictions created by the thin line of the pen

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FUNDAMENTALS

Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Italian artist Michelangelo (1475–1564)

The bright white highlight uses no lines; the surrounding hatch lines define the transition from bright light to a darker value

As the hatching lines cross over and over, the value appears to get darker

Portal Artwork: Albrecht Dürer, The Last Supper

3.6.16 Albrecht Dürer, The Last Supper, 1523. Woodcut, 8½ × 11". British Museum, London, England

The techniques of hatching and cross-hatching can be found in Albrecht Dürer’s version of the Last Supper.

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Space

Techniques for creating a sense of depth and the illusion of space include:

Size, overlapping, and position

Alternating value and texture

Changing brightness and color

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Size, Overlapping, and Position

The size of one shape compared to another often suggests that the larger object is closer to us

If one shape overlaps another, the shape in front seems to be closer

A shape lower in the picture plane also appears to be closer

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Size, Overlapping, and Position

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FUNDAMENTALS

Interactive Exercises:

Chapter 1.3 Implied Depth: Value and Space

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Artwork: Beda Stjernschantz, Pastoral (Primavera)

1.3.9 Beda Stjernschantz, Pastoral (Primavera), 1897. Oil on canvas, 49⅝ × 41¾". K. H. Renlund Museum, Kokkola, Finland

Digital rights not available for this image. See p. 81 of the textbook.

Beda Stjernschantz, Pastoral (Primavera)

The viewer sees the larger figures as closer because of this difference in size between the figural pairs

Implies depth by positioning the larger figure with the flute in a way that conceals the foot of one of the smaller figures

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

In using such relative placement, the artist invites us to saunter visually from the foreground (where the two largest figures are placed) to the middle ground (where the smaller group of figures is set), and continue on our visual journey along the softly curving river and into the beckoning woods in the background (the uppermost area of the work).

Beda Stjernschantz was one of a group of artists known as the Finnish Symbolists, who were influential at the turn of the twentieth century. They were especially interested in landscape and the relationship between the arts, including music and what is known as synesthesia, where one of the body’s senses experiences something that triggers an experience in another sense—hence the inclusion of the flute player in this painting

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Alternating Value and Texture

The illusion of depth in two dimensions is often influenced by the arrangement of value and texture

Artists intersperse value and visual texture to create a sense of rhythm

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Li Cheng, A Solitary Temple Amid Clearing Peaks

1.3.10 Li Cheng (attributed), A Solitary Temple Amid Clearing Peaks, Northern Song Dynasty, c. 960–1127 ce. Hanging scroll, ink and slight color on silk, 44 x 22". Nelson-Atkins Museum, Kansas City, Missouri

Li Cheng, A Solitary Temple Amid Clearing Peaks

Each area of light and dark occupies different amounts of space

Note the change in visual texture from bottom to top

Visual layers create a sense of depth

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chinese painter Li Cheng’s (c. 919–967)

As the landscape in this artwork rises, it also appears to recede behind the soft mist, then reappear with great vertical strength

Brightness and Color

Lighter areas seem to be closer as dark areas recede

For example, an intense green will appear closer to the viewer than a darker green

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Brightness and Color

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Artwork: Thomas Hart Benton, The Wreck of the Ole ’97

1.3.11 Thomas Hart Benton, The Wreck of the Ole ’97, 1943. Egg tempera on gessoed masonite, 28½ × 44½".

Hunter Museum of Art, Chattanooga, Tennessee

Thomas Hart Benton, The Wreck of the Ole ’97

Benton used brightness and color to create a sense of distance

We perceive color that is more intense as being closer

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American painter Thomas Hart Benton (1889–1975) used brightness and color to create and manipulate our sense of distance in his painting.

Perspective

Three common ways to suggest the illusion of depth on a two-dimensional surface are:

Atmospheric perspective

Isometric perspective

Linear perspective

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Atmospheric Perspective

Distant objects lack contrast, detail, and sharpness of focus because the air that surrounds us is not completely transparent

Objects take on a blue-gray middle value as they get further away

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Atmospheric Perspective

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The Effects of Atmospheric Perspective

1.3.12 The effects of atmospheric perspective

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Chapter 1.3 Implied Depth: Value and Space

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Artwork: Asher Brown Durand, Kindred Spirits

1.3.13 Asher Brown Durand, Kindred Spirits, 1849. Oil on canvas, 44 × 36". Crystal Bridges Museum of American Art, Bentonville, Arkansas

Asher Brown Durand, Kindred Spirits

The trees in the foreground are detailed and bright green, but as they recede into the background they become a lighter gray and out of focus

Lines and shapes also become less distinct in the background

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

By using atmospheric perspective, Asher Brown Durand (1796–1886) conveys an impression of the vastness of the American landscape.

Isometric Perspective

This system arranges parallel lines diagonally in a work to give a sense of depth

Derives from the Greek meaning “equal measure”

Has been used by artists in China for more than a thousand years

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Since Chinese landscape painters were never really interested in portraying space from a single viewing point—they preferred to convey multiple viewpoints simultaneously—isometric perspective was their chosen technique.

Isometric Perspective

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Artwork: The Qianlong Emperor’s Southern Inspection Tour

1.3.14 Xu Yang, The Qianlong Emperor’s Southern Inspection Tour, Scroll Six: Entering Suzhou and the Grand Canal, Qing Dynasty, 1770 (detail). Hand scroll, ink and color on silk, 2'3⅛" × 65'4½". Metropolitan Museum of Art, New York

Xu Yang’s use of Isometric Perspective

1.3.15 Graphic detailing isometric perspective in scroll image

Lines are drawn parallel and diagonal to create depth in isometric perspective.

Xu Yang, The Qianlong Emperor’s Southern Inspection Tour

The parallel diagonal lines define the small L-shaped building in the center and give an illusion of depth

This method of implying depth is not “realistic” according to Western tradition

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Chapter 1.3 Implied Depth: Value and Space

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The diminishing size of the trees as they recede into the distance helps us to understand how the space is structured.

Screenshot from Transistor

1.3.16 Supergiant Games, screenshot from Transistor, 2014. Art Director, Jen Zee

Screenshot from Transistor

The use of isometric perspective is common in computer graphics

Architecture of the game is designed using parallel diagonal lines to make “tiles”

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Chapter 1.3 Implied Depth: Value and Space

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Players of the video console game Transistor move from level to level and space to space without distortion, because the individual tiles remain the same size.

Linear Perspective

This type of perspective is a mathematical system that uses lines to create the illusion of depth in a two-dimensional artwork

Based on observation of space in the world we see around us

Developed with knowledge acquired over centuries

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Chapter 1.3 Implied Depth: Value and Space

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Mozi, a Chinese philosopher working in the fifth century BCE; Alhazen, an Arab mathematician from around the year 1000; and Leon Battista Alberti (1404–1472), an Italian Renaissance architect, each contributed ideas that helped artists to understand light and its properties more fully

Renaissance artists used a projection device called a camera obscura (Latin for “dark room”) to explore the possibilities of naturalistic illusion

The Baptistery, Florence

1.3.17a The Baptistery, Florence, Italy

The Baptistery, Florence

Filippo Brunelleschi, a Renaissance artist and architect, formulated the rules of linear perspective

He applied his rules to a painting he created of the Florence Baptistery

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Brunelleschi’s Proof

1.3.17b Brunelleschi’s proof of the accuracy of linear perspective

Brunelleschi’s Proof

The viewer could compare the degree of realism of his painting with the Baptistery itself

For hundreds of years, his discovery became a standard systematic process for creating an impression of realistic depth

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Brunelleschi drilled a small hole in the polished silver plate, on which was his painting of the Baptistery

A viewer could look through the back of this plate and, holding a mirror up in front of it, could see the painted image of the Baptistery reflected in the mirror

Linear Perspective

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Artwork: Edith Hayllar, A Summer Shower

1.3.18 Edith Hayllar,

A Summer Shower, 1883.

Oil on panel, 21 × 17⅜".

Private collection

Edith Hayllar, A Summer Shower

Hayllar uses linear perspective

Composition reflects the orderly life of upper-middle-class Victorian England

Parallel lines called orthogonals converge on a point (the vanishing point)

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

British artist Edith Hayllar (1860–1948) exhibited many works at the Royal Academy—a rare honor for a woman artist at the time.

The Effect of Convergences in A Summer Shower

1.3.18 The effect of convergences: Edith Hayllar, A Summer Shower, 1883. Oil on panel, 21 × 17⅜". Private collection

The converging lines (orthogonals) represent planes that are parallel to each other in reality

The orthogonals appear to converge on a single vanishing point, in front of the male tennis player on the left

One-Point Perspective

This type of perspective relies on a single vanishing point

Has limitations—the scene must be directly in front of the artist and receding

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

One-Point Perspective Technique

1.3.19 Applying one-point perspective technique

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Gateways to Art: Understanding the Visual Arts, Third Edition Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Artwork: Masaccio, Trinity

1.3.20 Use of one-point perspective: Masaccio,

Trinity, c. 1425–26. Fresco, 21'10½" × 10'4⅞". Santa Maria Novella, Florence, Italy

Masaccio, Trinity

Masaccio places the horizon line, an imaginary line that mimics the horizon, at the viewer’s eye level

Creates the illusion that the background is an architectural setting

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Chapter 1.3 Implied Depth: Value and Space

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The illusion of depth in Italian artist Masaccio’s (1401–1428) fresco must have amazed visitors at the church of Santa Maria Novella in Florence, Italy

His innovative work influenced other artists of the Renaissance, including Michelangelo

Portal Artwork: Leonardo da Vinci, The Last Supper

3.6.15 Leonardo da Vinci, The Last Supper, c. 1497. Fresco: tempera on plaster, 15'1" x 28'10½",

Refectory of Santa Maria delle Grazie, Milan, Italy

Another famous example of one-point linear perspective is Leonardo da Vinci’s The Last Supper.

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Two-Point Perspective

This type of perspective uses two separate vanishing points

Both rely on the horizon line

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Chapter 1.3 Implied Depth: Value and Space

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Artwork: Raphael, The School of Athens

1.3.21a Raphael, The School of Athens, 1510–11. Fresco, 16'8" × 25', Stanza della Segnatura, Vatican City, Italy

Raphael, The School of Athens: Perspective and the Illusion of Depth

Raphael introduces two additional vanishing points into a one-point perspective composition

Both new vanishing points fall on the horizon line

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Chapter 1.3 Implied Depth: Value and Space

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Applying Two-Point Perspective

1.3.21b Applying two-point perspective: detail from Raphael,The School of Athens

Since the block in the center of the picture is turned at an angle, Raphael had to integrate another level of perspective into the work

One vanishing point is positioned to the left of the central vanishing point

The right vanishing point is outside of the picture

Multiple-Point Perspective

When looking at an object from a high or low angle of observation, we need vanishing points away from the horizon line

Three-point perspective: a vanishing point is placed above or below the horizon line

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Cone of Vision

1.3.22 Cone of vision

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Any object that exists within our cone of vision—the area we can see without moving our head or eyes—can usually be depicted using vanishing points on the horizon line.

Artwork: M. C. Escher, Ascending and Descending

1.3.23 M. C. Escher, Ascending and Descending, March 1960. Woodcut, 14 × 11¼". The M. C. Escher Company, The Netherlands

M. C. Escher, Ascending and Descending

This woodcut features three distinct vanishing points

Two on the horizon line and one well below it

Gives us a bird’s-eye view

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Dutch graphic artist M. C. Escher (1898–1972) uses a third vanishing point.

Three-point Perspective in Ascending and Descending

1.3.23 Three-point perspective, bird’s-eye view: M. C. Escher, Ascending and Descending, March 1960. Woodcut,

14 × 11¼". The M. C. Escher Company,

The Netherlands

Foreshortening

When the rules of perspective are applied to represent unusual points of view it results in foreshortening

Has the effect of grabbing our interest

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Foreshortening

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Artwork: Albrecht Dürer, Draftsman Drawing a Recumbent Woman

1.3.24 Albrecht Dürer, Draftsman Drawing a Recumbent Woman, 1525. Woodcut, 3 × 8¾". Graphische Sammlung Albertina, Vienna, Austria

Albrecht Dürer, Draftsman Drawing a Recumbent Woman

The female figure is reclining at an oblique angle

The gridded screen helps the artist translate the model into a foreshortened two-dimensional composition

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The German artist Albrecht Dürer (1471–1528) portrays an artist at work drawing a figure

The artist has a fixed lens or aperture in front of him to make sure he always views from the same point

He looks through the gridded window to view the figure

Then he aligns his drawing to a similar grid marked on the piece of paper in front of him

Artwork: Wonderwoman, Superman, and Batman

1.3.25 Wonder Woman, Superman, and Batman, pages from Trinity: Volume 1™ and © DC Comics

Wonder Woman, Superman, and Batman

Superman’s fist is placed in the foreground; its large size exaggerates depth

His body recedes back into space

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Chapter 1.3 Copyright Information

This concludes the PowerPoint slide set for Chapter 1.3

Gateways to Art: Understanding the Visual Arts Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Copyright © 2015 Thames & Hudson

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Chapter 1.3 Implied Depth: Value and Space

Picture Credits for Chapter 1.3

1.3.1 Los Angeles County Museum of Art (LACMA), California. Purchased with funds provided by
the Mr. and Mrs. William Preston Harrison Collection, 78.7 (www.lacma.org). © ADAGP, Paris and DACS, London 2018

1.3.2 Photo © Dzmitry Kliapitski/123RF.com

1.3.3 Ralph Larmann

1.3.4 Ralph Larmann

1.3.5 Sterling & Francine Clark Art Institute, Williamstown, Massachusetts

1.3.6 Contarelli Chapel, Church of San Luigi dei Francesci, Rome

1.3.7 Ralph Larmann

1.3.8 Musée du Louvre, Paris

1.3.9 Courtesy K. H. Renlund Museum – Provincial Museum of Central Ostrobothnia, Kokkola, Finland

1.3.10 The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase William Rockhill Nelson Trust, 47-71. Photo John Lamberton

1.3.11 © Benton Testamentary Trusts/UMB Bank Trustee/VAGA, NY/DACS, London 2018

1.3.12 Ralph Larmann

1.3.13 Crystal Bridges Museum of American Art, Bentonville, Arkansas

1.3.14 Metropolitan Museum of Art, New York, Purchase, The Dillon Fund Gift, 1988

1.3.15 Ralph Larmann

1.3.16 © Supergiant Games, LLC 2014

1.3.17a JTB Photo/SuperStock

1.3.17b Ralph Larmann

1.3.18 Private Collection

1.3.19 Ralph Larmann

1.3.20 Santa Maria Novella, Florence

1.3.21a Stanza della Segnatura, Vatican Museums, Rome

1.3.21b Stanza della Segnatura, Vatican Museums, Rome

PART 1

FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.3 Implied Depth: Value and Space

Picture Credits for Chapter 1.3 (contd.)

1.3.22 Ralph Larmann

1.3.23 © 2012 The M. C. Escher Company-Holland. All rights reserved. www.mcescher.com

1.3.24 Graphische Sammlung Albertina, Vienna

1.3.25 From Trinity: Volume 1, TM and © DC Comics

PART 1

FUNDAMENTALS

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 1.3 Implied Depth: Value and Space