Perspective In The Renaissance
The development of perspective during the early Renaissance
Bori Tóth
Milestone Summer term, Art History course
Introduction
The aim of this paper is to describe the development of perspective during the Renaissance, how different perspectives were invented and used. To grab the essence of the topic, I would like to quote Albrecht Dürer, a famous German artist of the era, who summarized the new tendency:
The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences.
Perspective itself and the innovations
To go in the depth of this topic, first it is necessary to define what perspective is. Perspective is an approximate representation of an image (as it is
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Artificial perspective was invented by Filippo Brunelleschi, an Italian architect who lived in Florence in the 14-15th century. His first experiment was done in Florence, when he studied the Florentine Baptistery. According to Brunelleschi's biographer, Antonio di Tuccio Manetti, Brunelleschi
“had made a hole in the panel on which there was this painting; ... which hole was as small as a lentil on the painting side of the panel, and on the back it opened pyramidally, like a woman's straw hat, to the size of a ducat or a little more. And he wished the eye to be placed at the back, where it was large, by whoever had it to see, with the one hand bringing it close to the eye, and with the other holding a mirror opposite, so that there the painting came to be reflected back; ... which on being seen, ... it seemed as if the real thing was seen: I have had the painting in my hand and have seen it many times in these days, so I can give
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