Shift - Mathematical Perspective in Art

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Perspective, as used in the context of paintings and drawings, has been a device used by artists to provide the viewer with an interpretation as to the make up and/or meaning signified in a piece of art by way of use of artistic elements such as, color, contrast, shading, proportion, etc.

Linear perspective as used in the context of paintings and drawings, is a device used by artists and designers as a method of adding a third dimension to two dimensional space by way of use of one, or multiple vanishing points. Its use was undeveloped in medieval times, then focusing more so on proportion and positioning as a means of implying value to a subject in a work of art. Attempted uses of linear perspective were seen, but its correct mathematical approach was not observed. Not until early in the renaissance did linear perspective begin to emerge as a refined form. Its early development is witnessed in the work of Giotto, Masaccio, and Brunelleschi (and others) between the end of the 1th century and onward until the late 14th century.

My paper will focus on this period as a time when use of linear perspective was gaining acceptance among patrons and popularity among artists

as a new means of portraying subjects and settings in a composition. I will address and discuss specific works of Giotto, Masaccio, and Brunelleschi and their significance in the early development of mathematical perspective. I will attempt to provide the reader with a thorough background of the development of perspective within the time frame outlined. Bibliography

Bunim, Miriam Schild. Space in Medieval Painting and the Forerunners of Perspective. New York AMS Press IN, 140.

Holt, Micheal. Mathematics in Art. New York Van Nostrand Reinhold, Company. 171.

Edgerton, Samuel Y. Fr. The Renaissance Rediscovery of Linear Perspective. New York Basic Books Inc., 16.

Ruurs, Rob. Saeredam, The Art of Perspective. Philadelphia Benjamins/Forsten, 187.

White, John. The Birth and Rebirth of Pictorial Space. New York Thomas Yoseloff, 158.

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