Truth in painting - The kinds of meaning - Assignment Example

Truth in Painting PERSPECTIVE: THE KINDS OF MEANING MADE POSSIBLE INTRODUCTION In relation to painting, perspective has been defined as “a method of presenting an illusion of the three-dimensional world on a two-dimensional surface” (Kleiner and Mamiya 2006, p.874). The depiction of perspective is essentially the creation of a convincing illusion of space in a two-dimensional image, while all objects are portrayed within a single spatial system. Though the use of perspective was known in medieval Greece and Rome, paintings focused more on spiritual concerns rather than the illusory creation of perspective. The perspectival systems which developed during the following period of Renaissance brought about a contrasting portrayal of space along with the “illusionistic presentation of objects” (Kleiner and Mamiya 2006, p.458). Thesis Statement: The purpose of this paper is to investigate question no.2: to determine the kinds of meaning made possible by perspective in paintings. DISCUSSION The modern concept of perspective is considered to be a formal and defined branch of mathematics, emerging from Cartesian and Euclidean geometry. It is stated to be “meaningless” since this perspective refers to equations, and geometric functions such as lines, angles and points. The second perspective has great meaning, encompassing subjectivity, eternity and other concepts, as evidenced in various academic domains. This perspective which Elkins (1994, p.6) terms as “metaphorical perspective” is not in a complicated graphic or related to equations. It is the common type of perspective with which people view the world, and understand themselves as viewing subjects. . Linear perspective The most common manifestation is the linear perspective. In this type, “all parallel lines or surface edges converge on one, two or three vanishing points located with reference to the eye-level of the viewer” (Kleiner & Mamiya 2006, p.874), which is the horizon line of the picture. Associated parts of the painting are depicted in smaller size, portraying increasing distance from the viewer. Linear perspective clearly defines a physical point of view, showing the “location, vantage and orientation of the viewer” (Cartage.org 2002) as accurately as it depicts the physical form of the objects in view, in the composition. Linear perspective is one of the significant innovations of European art, with a great impact on the visual arts in the west from the 15th to the 19th centuries. Perspective in visual arts provides perception of the scene from a single, fixed viewpoint. It is created by various techniques. Parallel lines converge as they go further away from the viewer, objects become smaller as they recede into the distance, and in the far background colours look less intense and gain a bluish tinge (Gibson 1978). Figure 2. Linear Perspective Using Converging Lines (Cartage.org) In Figure 1. above, the converging lines formed by the intersecting lines on the surface of the ground, the horizontal lines of the buildings in rows, and the visual angles at which the buildings are placed in the composition, contribute to the illusion of space and depth. Integrative and multi-point perspectives occur as from a corner view of a building instead of a front view, as on the right in Figure 1. above (Cartage.org 2002). Italian painters of the Renaissance extensively used geometric lines in simple parallel perspective, with only one vanishing point. One of the merits of this method is that “its strong horizontal lines and rectangular faces seen head on stabilize the composition and conform well with the frame” (Wright 1983, p.82). However, this can be detrimental to the overall design, dictating the placing of figures in regimented rows. Even in floor patterns, diagonal lines are absent. Interiors views based on the one-point formula are found to resemble stage sets, often cluttered with props not relevant to the composition. Example: Figure 2. below of the painting Annunciation by Crivelli (1486). Figure 2. Annunciation with St. Emidius by Carlo Crivelli (1486) (Olga’s Gallery 2009) Panel transferred to canvas. 207 x 146 cm. National Gallery, London, U.K. In the Annunciation by Crivelli (Figure 2.) above, perspective is a predominant part of the composition, which is already an unresolved duality, divided by a centre line. One half appears to show skill in depicting depth of perspective through objects receding into the distance, while the other half displays protruding objects. “The insistent vanishing lines draw the eye away from the main subject” (Wright 1983, p.82). The Annunciation depicts the announcement by the archangel Gabriel sent by God, to Mary, that she was to give birth to Jesus who will be great and would be known as the son of God. The architecture is plausibly portrayed, though grotesque and has a sharp realism which contrasts with the mystical subject matter, creating an almost surrealistic effect. The religious and social meanings that perspective was charged with in the early Renaissance paintings are no longer seen in contemporary art. Elkins (1994, p.2) supports this view, stating that “the founding of modernism was bound up with a rejection of perspective”, and later postmodern developments again marginalised perspective. On the other hand, it is argued that modernism is based on the continual innovation of post-Renaissance art, where perspective played a significant role. Aerial perspective This is also known as atmospheric perspective. In this type, the illusion of distance in the picture is created by decreasing color intensity, changing color to an almost neutral blue, “and the blurring of contours as the intended distance between eye and object increases” (Kleiner & Mamiya 2006, p.874). Figure 3. below shows the painting of a rainbow landscape by Peter Paul Reubens, created in 1636-1637. Here the view is panoramic because the viewer is provided with a perspective of miles of countryside stretching into the distance. The spectator’s position is in the centre, as if they were “standing above the landscape on raised ground” (Acton 1997, p.37). According to Huhn et al (2009), focalization is the perspective in a composition as presented to the spectator, from the personal viewpoint of the artist. In this aerial view linear perspective is used with the converging lines of direction starting from the corners of the composition. The lines act as focalizers, receding to a vanishing point on the horizon, behind the trees on the right, which grow smaller in size as the recede into the background. The feeling of prolonged withdrawal of the trees and other elements in the picture is further created by the use of diagonal lines “from the upper corners of the picture down through the sky, above the trees on the left and and over the top of the wooded area on the right” (Acton 1997, p.37). Figure 3. The Rainbow Landscape by Peter Paul Reubens(1636-1637) (Topofart 2009) One hundred years before the artist Reubens, Leonardo invented “aerial perspective”, a device that “created an illusion of greater depth than could be achieved by linear perspective alone” (Acton 1997, p.37). In the composition Figure 3. above, the hills in the far distance are depicted using a cool blue which emphasizes the receding hilly region in the background. The middle part of the view is green, while the foreground is a warm brown in ochre shade. This warm color is in the front of the composition, close to the spectator, the green moves back in the image, and the blue recedes into the far distance. Thus the effect of space is emphasized by the tones of the colours used, with dark shades in the foreground, and pastel tints in the background. It is important to note that the light effects in the painting play a crucial role. Its dramatic contrasts are seen in the middle distance, creating an atmosphere similar to that of a rainbow. “The light and dark areas move in zig-zag fashion around the planes and emphasize the recession” (Acton 1996, p.37). The contrasts enhance the drama by making the eye move from light to dark and from one area of the composition to another in quick succession. This contributes to an interesting contrast between the weather effects happening in the front and the middle of the image, and the calmer atmosphere created in the background, using lighter tones. The dark shadows under the trees create an illusion of mystery and spaces beyond the spectator’s view. However, the centers of attention are created by the areas lit up by light. Further, there is an effective creation of a sense of space behind the picture plane, which illusion is slightly lessened by the figures walking in the front and the haycart entering from the left of the composition. The details pertaining to the figures and the foliage in the foreground are considerably greater than those of the elements in the background. The panoramic wide-angled view is due to the horizontal rectangular shape of the picture. The spatial illusion gives an extensive sense of scale. The Baroque period of the seventeenth century was the main era during which the creation of spatial illusion developed to a high level of sophistication, as seen in the painting by Reubens. Zoltan (2007) states that an integration of sensory perceptions takes place, in the visual assimilation of perception in visual arts. CONCLUSION This paper has highlighted the significance of perspective in paintings. The various meanings and attributes of the concept, in relation to linear perspective, aerial perspective, integrative perspective which combines linear with aerial view, centers of attention, and focalizers have been examined. It was found that all these different aspects play an important part, singly or in combination of two or more of the elements, to produce meanings of space and depth in paintings. Linear perspective using parallel lines converging at the far distance, is the basic technique of creating an illusion of space and an impression of vastness in visual art. Aerial perspective in a composition is generally an integration of different techniques, in which linear perspective plays an essential role. Moreover, the view point being at a higher level, the angle of perspective is important. Generally, the objects in the painting are portrayed with the upper parts clearly visible, and with less-visible, fore-shortened lower parts. Perspective is also created by the appropriate modulation of colors and tones, contrasting light and dark effects, shadows and lit areas as well as diminishing sizes of objects to show them receding into the distance. Thus several factors contribure to enhancing perspective. Unlike Renaissance art, contemporary art does not place an emphasis on perspective. However, perspective forms an inherent part of any landscape or skyscape painting, and similar techniques are used for creating the illusion of space and depth. BIBLIOGRAPHY Acton, M. (1997). Learning to look at paintings. New York: Routledge. Cartage.org. (2002). Perspective in painting: Basics of perspective. Retrieved on 25th December, 2009 from: http://www.cartage.org.lb/en/themes/Arts/painting/principl-tech/pers-paint/basic-pers/basicpers.htm Elkins, J. (1994). The poetics of perspective. The United States of America: Cornell University Press. Gibson, J.J. (Summer 1978). The ecological approach to the visual perception of pictures. Leonardo, 11 (3): pp.227-235. Huhn, P., Schmid, W. and Schonert, J. (2009). Point of view, perspective, and focalization: modeling mediation in narrative. New York: Walter de Gruyter. Kleiner, F.S. and Mamiya, C.J. (2006). Gardner’s art through the ages: The western perspective. Edition 12. The United States of America: Cengage Learning. Olga’s Gallery. (2009). Carlo Crivelli: Annunciation with St. Emidius, 1486. National Gallery, London, The United Kingdom. Retrieved on 25th December, 2009 from: http://www.google.co.in/imgres?imgurl=http://www.abcgallery.com/I/italy/crivelli2.JPG&imgrefurl=http://www.abcgallery.com/I/italy/crivelli2.html&h=755&w=527&sz=54&tbnid=Yklgigp44RXorM:&tbnh=269&tbnw=188&prev=/images%3Fq%3Dcrivelli%2B%252B%2Bannunciation&hl=en&usg=__rXOiLBjKkwkn-L4JZxg1YHoSL3A=&ei=f1M1S4X2BsGIkAWbx_z6CA&sa=X&oi=image_result&resnum=1&ct=image&ved=0CAcQ9QEwAA Topofart. (2009). The Rainbow Landscape: Peter Paul Reubens. The Wallace Collection. London, The United Kingdom. Retrieved on 25th December, 2009 from: http://www.topofart.com/artists/Peter_Paul_Rubens/art_reproduction/3967/The_Rainbow_Landscape.php Wright, L. (1983). Perspective in perspective. New York: Routledge. Zoltan, B. (2007). Vision, perception and cognition: A manual for the evaluation and treatment of the adult with acquired brain injury. The United States of America: Slack Inc. Publishers. Read More