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Giotto di Bondone, Confirmation of the Rule of St. Francis, c. 1325
Orthogonals on architecture show attempted but imperfect perspective. Vanishing point shows awareness of viewer's very low viewpoint, but not low enough.
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Pietro Lorenzetti, Birth of the Virgin, 1342
Attempt at architectural perspective unites the three panels of the triptych. Shows errors: multiple vanishing points, bed and floor show different foreshortening
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Donatello, St. George and the dragon, c. 1417
Columns on right side show convergence to vanishing point. Problem of mixing 3D and 2D (perspectival) representation of depth posed by relief.
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Masaccio, Crucifixion from the Pisa Altarpiece, 1426, Naples, Capodimonte
Doesn't show perspective even though Masaccio later produced the cornerstone of perspective with the "Trinity" of 1428
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Masaccio, ‘Trinity’, 1428
First painting that shows completely correct linear perspective. Figures are both contained in architecture and seem to enter into viewer's space if they are placed in front of it (like the patrons on either side). Extends the real space of Santa Maria Novella where it is placed.
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Piero della Francesca, Flagellation of Christ, c. 1460
"Albertian box" on the left separated from larger figures on right... they are separated by architecture and distance (as indicated by different sizes). Playing with perspective because using it in an unconventionally mixed way.
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Filippo Lippi, Madonna with Child and Angels, c. 1460
It's an Albertian window, but very aware of its frame, which is breached by the figures. So the sense of distance created by the landscape is counteracted by the feeling that they are placed in front of some painting. Or you can interpret it as extra 3D... they are projecting into our space.
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Paolo Uccello, The Deluge, c. 1446, Florence, Santa Maria Novella, Cloister
Vanishing point is used to create an explosion. Playing with perspective.
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Botticelli, Adoration of the Magi, 1470/4, London, National Gallery
Perspective gives us a nice omniscient vantage point from which we can survey the scene.
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Francesco di Giorgio Martini (?), Architectural Vedute, 1490-1500
Super clear linear perspective. Interesting that even the most mathematically correct linear perspective neglects vertical convergence/foreshortening which we experience in everyday life but which looks weird to us in pictures.
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Leonardo da Vinci, Virgin with Child and St. Anne, c. 1508
Shows distance with color (more blue, more blur) rather than linear perspective. People used to go to his studio to admire the drawing version of this painting (work in progress of a famous master has value in itself). Lots of dynamism for a Mary & Jesus picture.
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Jacopo Pontormo, Lamentation, 1525-28
Mannerist: bright, almost faded colors; figures take up basically the whole surface; expressive but almost overly dramatic gestures/poses.
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Jacopo Tintoretto, Last Supper, 1592-94, Venice, San Giorgio Maggiore
Mix of real space with perspective (very deep space) with visionary angels that seem to be more just on the surface of the painting. Moment depicted is one in which Christ breaks bread explaining how he will become the Eucharist (i think?)
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Titian, Annunciation, c.1560, Venice, San Salvator
We see Mary in earthly space (at least as indicated by the presence of architecture), visionary aspect is shown with explosion-like, non-perspectival cloud and circular motion of angels.
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Leonardo, Anatomy of the female body, c. 1508
No clear delineation between the layers within the body or even the external layer. Translucent rather than clear-cut. Body is drawn as if it continues, it is not necessarily dead.
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Andreas Vesalius, De humani corporis fabrica, 1543
As opposed to Leonardo's integrated anatomical study, Vesalius shows careful delineation between the layers in the body and peels away the skin rather than leaving it as something sort of see-through. Form refers to sculpture, stony quality to the work. Easy differentiation between the body parts made this the more successful model for future anatomical studies rather than Leonardo's.
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