A Matter of Perspective

Artists have always searched for ways to make a work of art appear real. Arguably, the most popular technique to reach this goal is to use a method of perspective. Perspective is a technique that uses differences in size, foreshortening, and blur to create the illusion that an object is closer or further away than it actually is. The resulting piece is often more aesthetically pleasing to the eye of the beholder. Occasionally, though, artists will create works of art which are intentionally designed with multiple points of perspective. The viewer must pause and contemplate these pieces of art in order for them to make sense, if it is even permitted by the artist. Artists have used different techniques of perspective in relation to their subjects. A single point perspective is often used to portray a tunnel or path. Two and three point perspectives are common for architecture and free standing objects. Occasionally, artists will employ a four point perspective for panoramic works of art. Natural subjects such as landscapes will often have a zero point perspective as usually no one line converges with another. The most rudimentary examples of perspective are actually found in Egypt, with size being used to portray distance. The scientific study of perspective in art, however, was not introduced until the Renaissance. It was at this time a scientific, mathematical approach was adopted which is still heavily employed to this day. No one method is better than another, though. Every technique of showing perspective is equally important and effective as the rest. The following works of art give but a brief glimpse at the vast universe that is out there.

Leonardo da Vinci, Perspectival study of the Adoration of the Magi, c.1481

Ink on Paper, Galleria degli Uffizi, Florence, Italy

In a vivid example of one point perspective, Leonardo da Vinci takes a very careful and scientific approach to this piece. In a study made before actually making the final piece of art, da Vinci takes the time to mathematically plan the layout of the environment he is trying to create. He has carefully laid out lines to show where the horizon meets the paper. Da Vinci has carefully angled lines from top to bottom which form the appearance of a convergence. From these lines, da Vinci is able to carefully scale, shape, and angle each object in his final product. Leonardo da Vinci is often looked upon as the ideal renaissance man and this creation is in every way a powerful contribution to such a name. The scientific precision, mathematical accuracy, attention to detail, and creativity are breathtaking in even this rough sketch.

Hans Holbein the Younger, The Ambassadors, 1533

Oil on Oak, Location in Gallery Room 4, The National Gallery, 1890 Inventory number NG1314

In a different, yet equally wonderful, work of art, Hans Holbein the Younger takes a unique approach to two point perspective. In an attempt to make a social statement, Holbein paints a traditional portrait of two ambassadors, however, Holbein also paints a skull slashed across the painting that can only be accurately observed from a different point of view. The painting is thought to have all of the proper symbolism of the time in it yet if close attention is given, small things are off. The lute, meant to symbolize music, has a string broken. A half crucifix in the upper left corner may symbolize the pushing away of christ. Certain things that the artist could and would have fixed are left as a critique. The skull though is the most prominent and out of place object in this work. The creative use of this second perspective is a tribute to the skill of Holbein.

Edgar Degas, Billiard Room at Ménil-Hubert, 1892

Oil on Canvas, Staatsgalerie, Stuttgart, Germany

Edgar Degas uses a complex point of view for this piece of art. He uses a traditional three point for the billiard table but uses an inverse three point for the actual room. This composition is very effective in showing belonging in the room. The actual proportions do look off, however, there is no doubt that you, the viewer, are indeed in the room. Actual interior paintings by Degas are in fact rare because he had a hard time figuring out the proper perspective calculations. Degas uses a combination of vertical and perpendicular lines to try to accomplish this task but is ultimately thrown off by his use of lines which fail to angle properly.

Rembrandt Harmensz, The Abduction of Europa, 1632

Oil on Panel, The Getty Center Los Angeles, 95.PB.7

Rembrandt composes a very compelling piece in this portrayal of the abduction of Europa. With no distinctive lines or converging points, Rembrandt uses scale and blur as his friend in this piece. Near the front of the piece, a group of figures is portrayed in crisp, clear colors. Shadows help objects such as the cart emerge from the background while the sun highlights those of importance. In the background, however, dark clouds loom about a city. The haze from its mist serves to blur the city enough to draw it out of focus in our mind. The scale of the towers, which we know should be massive in comparison to the figures in the foreground, also tricks our minds into believing that they are much further back. Even without a clear point or points of focus, Rembrandt still manages to convey depth through scale and focus.

Edvard Munch, The Scream, 1893

Oil, Tempera, and Pastel on Cardboard, National Gallery, Oslo, Norway

Edvard Munch uses a very interesting variation on single point perspective in his world famous piece The Scream. Through a creative use of curved and straight lines, Munch is able to create a horizon in our minds and let us believe that everything is converging towards that single point off of the work. This method serves to emphasize the message conveyed by the painting. Without a fixed, visible point of perspective, we are left to visualize it in our minds, to think about it carefully and how it might relate to our lives.

Giovanni Battista Tiepolo, Allegory of the Planets and Continents, 1752

Oil on Canvas, The Metropolitan Museum of Art, 1977.1.3

Giovanni Battista Tiepolo was a legendary ceiling fresco artist in the early 1700’s. In this piece of art, Tiepolo exhibits his craftsmanship by not only the single point perspective, but also by having multiple viewing angles for the audience. Tiepolo utilizes every aspect of the ceiling to create a sky which appears to ascend to the heavens. Through the swirling clouds which form a tunnel and emphasis on dark and light, Tiepolo is able to craft a visually agreeable argument for why the ceiling is not actually there. By having some characters even so much as extend down onto the walls, Tiepolo given even more credence to the depth of the work. Tiepolo takes a principle and expounds upon it masterfully to create something which is truly beautiful and breathtaking to behold.




-Drew Osborne