Linear Perspective In Art

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Art is constantly changing. Styles come in and out of favor, subject matter old and new are painted and explored, and new techniques are developed. One major development and new technique that vastly changed art was the use of linear perspective during 15th Century Italy. As with any new technique, the use of linear perspective took a while to advance and become the mathematically based depth cue that people now know it as. In the beginning, it was simply the slight convergence of lines, not always to the same vanishing point. This convergence of lines gave viewers of this new artistic technique, the suggestion that one object was in front of another. (Stokstad, 2014)
There are many theories about how linear perspective advanced rapidly
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Filippo Brunelleschi (1377–1446) a notable artist and architect most well-known for his innovative work on engineering the dome of the Florence Cathedral and for the reinvention of linear perspective (Filippo Brunelleschi, 2015). Brunelleschi is often credited for looking into the Greek and Roman building styles to complete the massive Florence Cathedral, but he also rediscovered the ideologies of linear perspective, known to ancient Greeks and Romans hundreds of years before his time. These ideas where seemingly lost during the middle ages and reawakened by Brunelleschi (Filippo Brunelleschi, 2015). Brunelleschi is even credited with a seemly strange experiment of sorts to show his friends and viewers how linear perspective related to the world around him, often called Brunelleschi 's Peepshow (The Psychology of Perspective and Renaissance Art, 2015). Brunelleschi would have his friends stand exactly where he stood whilst painting and have them look at the original scene he painted. From here Brunelleschi would hold up the painting with the backside of the paining right in front of the viewer’s face. They would then look through a small eyehole in the middle of the painting. From this point the viewer would be seeing the original scene that Brunelleschi had painted through the painting. A mirror would then be held in front of the paining so that the viewer would be gazing at its reflection. (Talbott, 1995) It is reported that the paintings Brunelleschi had done would be so precisely drawn in linear perspective that it was indistinguishable from the original scene (Dauben, 2015). Though, the original panel paintings have been lost, this is experiment is a well-documented one which show the way mirrors truly helped develop linear

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