Art and Space, by Aaron Berkman, fig.26
Art and Space, by Aaron Berkman, fig.26
Angular perspective
This perspective is obtained from an oblique point of view. It uses two or three vanishing points. Incorporating knowledge of central perspective, the mathematical basis for angular perspective was created. It was just a matter of time until two/three point perspective was figured out. Many of the perspective testimonies still survive, especially from Vignol and Guidabaldo. It is only during the 16th century, where angular perspective is first applied accurately in art.
Soon the symmetrical set up of the renaissance became old fashioned. Contrary to the symmetrical box where the best action was in the center, in angular perspective the space expands with distance. Depth is created through shrinkage. It is not surprising that most paintings have the main action in the back with just a few elements in the front. (for further detail see Art and Space, by Aaron Berkman)
Mont Saint-Victoire.,Peter Brueghel, Vienna museum
The "Wedding Feast" by Peter Brueghel (1529-1569) is a beautiful illustration of this new spatial system. Oblique perspective enables him to create an open space containing several different worlds. The artist finally freed himself from the restrictions of the stage box. In the 16th century, the artist became more independent from the church. Brueghel was one of the most important revolutionary figures in the socio-political sense. Instead of using the typical religious theme, he borrowed his subject from every day situations and angular perspective furnished the perfect means.
Since, in real life, most objects are viewed obliquely, I have to agree with Aaron Berkman that "angular perspective brought the picture into the realm of camera vision; it furnished a closer approach to optical reality than any system in the past." (Art and Space, by Aaron Berkman , p.83)
Exploration of perspective and its refusal
In the 16th and 17th century, the artists explored all kinds of new spatial techniques. Perspective is applied in all great European schools of painting. Vermeer for example, next to Brueghel, is one of the last greatest representatives of the Flemish school. Within the angular perspective framework, he creates a new spatial system; he aims to arrange all the shapes in a geometrical relationship to finally obtain a natural impression (Space and Art, by Aaron, p.91). Angular perspective also opened up the space for the landscapists.
The following two centuries, the painters based their art on the techniques developed by the old masters. David and Ingres for example, the two leaders of the French academy, were influenced by Raphael and the formalism of the Greeks.
Mont Saint-Victoire., by Cezanne, 1885/95
Still Life with Apples, by Cezanne, 1895-98; The Museum of Modern Art, New York
But it is only with Cezanne (1839-1906) when the perspective rules have been deliberately broken in order to represent a personal reality. His concept anticipated contemporary science and the psychological findings about the mechanism of the human eye. Contrary to the camera eye, we see with two eyes constantly moving, focusing and defocusing. The strongest example of the psychological impact in our vision is hallucination. With Cezanne and the development of photography, the role of perspective ceased to be limited to the creation of photographic reality. Man had to find a new role for perspective in art. .
Examples of the strong effects of perspective in Photography
The following pictures are extracted from Images of the Word, published by National Geography.
Dewitt Jones, Redwood National Park.
Dick Durrance, Colorado Rockies.
James L. Stanfield, Worker of the Ex-South African gold miners
Go on to next section: Part 2: New ways of perception in Art
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