I remember long ago reading that tribal people who lived
deep in dense jungle lacked a sense of distance and perspective. When taken out
of the jungle and up a hill, they thought that people and animals in the valley
were ants. The problem of distance is solved in nature with two eyes
registering slightly different images that tell the brain that some object is
near or far. We can’t reproduce that kind of depth perception on paper, but
perspective allows us to mimic the effect of distance and depth.
Although Greek and Roman painting occasionally played with a
sense of depth, much of it involved a vague idea that things built on a square
plan are seen as diagonals. Much of the above wall fresco from Pompeii is
believable in a cartoonish way, but the yellow windowed walls on the left seem
like an “artist’s day off” anomaly. We might be looking down or up at them, but
neither situation fits the rest of the painting.
The fresco above from the Villa of Fannius Synistor allows
every building to have its own vanishing point (or rather, every building has a
rough approximation of a vanishing point; and the tile roof near the middle
gets to head out in the opposite direction). The end result is more abstract
than realistic, like a telephoto shot of a hillside town. The overall effect is
quite charming, and for the occupants of a rural villa would have recalled the
bustling city beautifully, if inexactly.
This formal temple
scene from Boscoreale contains the beginnings of exact perspective. It reads as
a realistic one point construction until you trace the perspective lines (green
lines). Although it is not “correct”, it is a reasonable approximation that
worked well as interior decoration.
The preceding frescos are from the height of the Roman
Empire, when order and the civilized arts reigned. Soon, the Empire decayed,
and the arts followed suit. For a thousand years Europe was disordered, and art
was strictly decorative. It wasn’t until the late medieval period that perspective
was developed from a rough approximation to an exact “science”. The fresco
above called the Confirmation of the Rule
of St Francis by Giotto, painted
in 1325, shows that the art of perspective had returned to the level attained
in the Roman Empire.
The less said about the giant Dante the better! OK, it’s
allegorical, and he is surrounded by his city and literary works; I get it.
Interestingly, the local perspective work is quite good. The view of Florence
at the right would be believable if Dante wasn’t hovering over it.
Progress is never uniform, and this manuscript illustration from
1385 seems medieval. Brother Amadeus
gets an E for Effort, but shows a confused take on perspective.
Fifty years later Jan van Eyck is getting close. Although
there are mistakes, the overall effect is convincing.
These illustrations from Serlio’s Five Books of Arch (1545, or 100 years after the van Eyck
painting), show that one point perspective is becoming a science. Symmetry is used to work out the depth, and
the rectilinearity of everything allows the use of a single vanishing point.
There is a bit of confusion in the scaling of the people in
Salviati’s Ideal City, but in general
perspective is followed throughout the mass of detail.
These plates from Piero
della Francesca’s De Spectiva Pingendi
(1576), show that complex shapes and rotated forms are being developed in the
rectilinear world of perspective.
Even as late as 1600 some “experts” in the field had not
gotten the hang of the business. This plate from Perspective by J. Vredeman de Vries has blocks leaning toward the
sky mistakenly receding to the same horizon as blocks lying flat.
The above perspective layout of Dom Utrecht by Pieter Janzoon Saenredam illustrates the enticing order of
simple perspective drawing. It has no pretensions to drama, but is entirely
satisfying to the eye.
The two drawings above by Giuseppe Bibiena of
proposed projects and theatre scenes show one point perspective taken to the
height of detail and drama.
Giuseppe Zocchi also produced perspectives
mixing accuracy and theatricality.
One point perspectives were used extensively in the Encyclopedia of Trades & Industry by
Diderot in 1752. Their ease of construction and believability made them perfect
for this use.
So… what can be learned from this short walk through the
history of one point?
First, that even a rough adherence to rules of perspective
creates a sense of three-dimensionality.
Second, that perspective is based on a rectilinear view of
the world.
And, third, although one point perspective is an extremely
simple idea, it can be used to illustrate complex forms, and create dramatic
images.
NOTE: The following posts are NOT meant to be a tutorial on
one-point perspective. There are plenty of websites that do that. I want to
illustrate some of the interesting examples, and point out the major problems
and opportunities out there. I will cover the basic types of one point
perspectives with examples, in addition to simple diagonal layouts, and dealing
with distortion.
Other posts on Perspective:
Perspective - Two Point Perspective -
Distortions & ComplicationsPerspective - Three Point Perspective- Hand & CAD
Great insights. why didnt they build models and then use grid to draw? especially the forms going to the horizon by the dutch boy.??? or did you mean that it creates a confusion?
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