Hondius' treatise, like that of Vredeman de Vries, was essentially a recipe book, but more attuned to the practicing painter. Marolois' text, which was far more comprehensive than Vredeman de Vries', was useful only to artists who might have sought a theoretical understanding of the laws of perspective. 6) whereas Marolois saw perspective as a branch of mathematics. Vredeman de Vries was completely oriented towards architecture (fig. 1627) and Hendrick Hondius (1573–1649) were important. "Among the number of perspective books available in the Netherlands, those of three Dutchmen, Hans Vredeman de Vries (1527–c. 6 Perspective print from: Perspective, c'est a dire, le tresrenomme art du poinct oculaire d'une veue dedans ou travers regardante, estant sur une muraille unie, sur un tableau, ou sur de la toile, en laquelle il y ayt quelques edifices, soyt d'eglises, temples, palais, sales, chambres, galeries, places, allees, jardins, marches & rües… The impression of three-dimensional space in many of these pictures is so compelling that even today's most jaded museum-goer cannot but share the wonderment they must have provoked in Vermeer's day.įig. 4) were rendered with astounding exactitude, sometimes combining real and imaginary elements in the same composition. The exteriors and interiors of real and fantasy churches, civic buildings, country houses and bizarre renaissance palaces (fig.
Two centuries later, Dutch architectural painters brought the application of linear perspective in painting to its zenith.
Within a few decades after the discovery of perspective, Italian painters were able to represent architectural environments of great complexity and spatial resonance, some so spectacular that they overshadow the pictures' subject matter. Oriental carpets with repetitive geometrical patterns were also used. These first perspectives typically featured geometrically shaped objects such as tiled floors, windows, coffered ceilings, colonnades and ceiling rafters, which are among the most conformable to perspectival projection. The more imposing and realistic was the setting, the more compelling was the narrative. Linear perspective was first utilized by Italian renaissance painters to represent fantasy architectural backdrops of biblical and mythological narratives (fig. Kelvingrove Art Gallery and Museum, Glasgow The fact that Vermeer might have been considered by a contemporary Liefhebber (art lover) first and foremost as a skilled practitioner of perspective has only recently begun to be considered. All of these works had the overriding aim of producing the most persuasive illusion of three-dimensional depth possible. 2) were also regularly referred to as perspectives. 1) to perspective boxes ( perspectival), or "peep-shows," as they are imprecisely called. To be sure, the Dutch term used for perspective comprises a range of artistic compositions, from see-through views ( doorsien or doorsicht), like Vermeer's The Love Letter or Cornelis Bisschop's Girl Peeling an Apple (fig. He described them not as "allegories" or "scenes of daily life," much less "masterpieces of light" or "suspended moments in time" that "exude silence." Van Berkhout wrote that the most "extraordinary and curious aspect" of Vermeer's art consists in "perspective." Soon after Pieter Teding van Berkhout (1643–1713), a young scion of a landed gentry family from The Hague, made a visit to Vermeer's studio in June 1669, he wrote in his diary, "I went to see a celebrated painter named Vermeer." But Van Berkhout understood Vermeer's paintings differently than we do today. Picturing space: projection and perspective.Perspective diagrams of Vermeer's paintings.The evolution of Vermeer's perspectives.How did Vermeer create his perspectives?.
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