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a different point, this cancels out what would appear to be distortions in the image. For example, a sphere drawn in perspective will be stretched into an ellipse. These apparent distortions are more pronounced away from the center of the image as the angle between a projected ray (from the scene to the eye) becomes more acute relative to the picture plane. Artists may choose to "correct" perspective distortions, for example by drawing all spheres as perfect circles, or by drawing figures as if centered on the direction of view. In practice, unless the viewer observes the image from an extreme angle, like standing far to the side of a painting, the perspective normally looks more or less correct. This is referred to as "Zeeman's
Paradox".
999:), a treatise on proper methods of showing distance in painting. Alberti's primary breakthrough was not to show the mathematics in terms of conical projections, as it actually appears to the eye. Instead, he formulated the theory based on planar projections, or how the rays of light, passing from the viewer's eye to the landscape, would strike the picture plane (the painting). He was then able to calculate the apparent height of a distant object using two similar triangles. The mathematics behind similar triangles is relatively simple, having been long ago formulated by Euclid. Alberti was also trained in the science of optics through the school of Padua and under the influence of
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1728:(ç‰č§’透視), a graphic tool probably invented by Chinese architects. It came to be known in the West as axonometry. Axonometry was crucial in the development of the Chinese hand scroll painting, an art form that art historian George Rowley referred to as "the supreme creation of Chinese genius". Classic hand scroll paintings were up to ten meters in length. They are viewed by unrolling them from right to left in equal segments of about 50 cm. The painting takes the viewer through a visual story in space and time.
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Perspective images are created with reference to a particular center of vision for the picture plane. In order for the resulting image to appear identical to the original scene, a viewer must view the image from the exact vantage point used in the calculations relative to the image. When viewed from
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in the 1470s, making many references to Euclid. Alberti had limited himself to figures on the ground plane and giving an overall basis for perspective. Della
Francesca fleshed it out, explicitly covering solids in any area of the picture plane. Della Francesca also started the now common practice of
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By the later periods of antiquity, artists, especially those in less popular traditions, were well aware that distant objects could be shown smaller than those close at hand for increased realism, but whether this convention was actually used in a work depended on many factors. Some of the paintings
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at the end of the 15th century on
Brunelleschi's panel, there is not a single occurrence of the word "experiment". Fourth, the conditions listed by Manetti are contradictory with each other. For example, the description of the eyepiece sets a visual field of 15°, much narrower than the visual field
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at the user's eye, and vertices at the top and bottom of the wall. The bottom of this triangle is the distance from the viewer to the wall. The second, similar triangle, has a point at the viewer's eye, and has a length equal to the viewer's eye from the painting. The height of the second triangle
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Over the same period, the development of sophisticated and highly-detailed visual art in Asia arrived at a slightly different solution, now known as the oblique projection. Whereas Roman and subsequent
European visual art effectively had multiple and incoherent vanishing points, Asian art usually
843:. When Brunelleschi lifted a mirror in front of the viewer, it reflected his painting of the buildings which had been seen previously, so that the vanishing point was centered from the perspective of the participant. Brunelleschi applied the new system of perspective to his paintings around 1425.
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This scenario is indicative, but faces several problems, that are still debated. First of all, nothing can be said for certain about the correctness of his perspective construction of the
Baptistery of San Giovanni, because Brunelleschi's panel is lost. Second, no other perspective painting or
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Medieval artists in Europe, like those in the
Islamic world and China, were aware of the general principle of varying the relative size of elements according to distance, but even more than classical art were perfectly ready to override it for other reasons. Buildings were often shown obliquely
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Perspective works by representing the light that passes from a scene through an imaginary rectangle (the picture plane), to the viewer's eye, as if a viewer were looking through a window and painting what is seen directly onto the windowpane. If viewed from the same spot as the windowpane was
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show a remarkable realism and perspective for their time. It has been claimed that comprehensive systems of perspective were evolved in antiquity, but most scholars do not accept this. Hardly any of the many works where such a system would have been used have survived. A passage in
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The earliest art paintings and drawings typically sized many objects and characters hierarchically according to their spiritual or thematic importance, not their distance from the viewer, and did not use foreshortening. The most important figures are often shown as the highest in a
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Messer Paolo dal Pozzo
Toscanelli, having returned from his studies, invited Filippo with other friends to supper in a garden, and the discourse falling on mathematical subjects, Filippo formed a friendship with him and learned geometry from
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648:, where a group of "nearer" figures are shown below the larger figure or figures; simple overlapping was also employed to relate distance. Additionally, oblique foreshortening of round elements like shields and wheels is evident in
896:. Not only was perspective a way of showing depth, it was also a new method of creating a composition. Visual art could now depict a single, unified scene, rather than a combination of several. Early examples include Masolino's
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In the 18th century, Chinese artists began to combine oblique perspective with regular diminution of size of people and objects with distance; no particular vantage point is chosen, but a convincing effect is
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painted, the painted image would be identical to what was seen through the unpainted window. Each painted object in the scene is thus a flat, scaled down version of the object on the other side of the window.
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This overall story is based on qualitative judgments, and would need to be faced against the material evaluations that have been conducted on
Renaissance perspective paintings. Apart from the paintings of
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suggests that classical artists and theorists thought in terms of "circles" at equal distance from the viewer, like a classical semi-circular theatre seen from the stage. The roof beams in rooms in the
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lacked any vanishing point, but aligned recession in parallel. An important factor here is the use of long scrolls, which even now make fully coherent perspective projection unsuitable.
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839:, in about 1420, Brunelleschi demonstrated his discovery by having people look through a hole in the back of a painting he had made. Through it, they would see a building such as the
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using illustrated figures to explain the mathematical concepts, making his treatise easier to understand than
Alberti's. Della Francesca was also the first to accurately draw the
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according to a particular convention. The use and sophistication of attempts to convey distance increased steadily during the period, but without a basis in a systematic theory.
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259:. It is based on the optical fact that for a person an object looks N times (linearly) smaller if it has been moved N times further from the eye than the original distance was.
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to the line of sight. All objects will recede to points in the distance, usually along the horizon line, but also above and below the horizon line depending on the view used.
1930:"...and these works (of perspective by Brunelleschi) were the means of arousing the minds of the other craftsmen, who afterwards devoted themselves to this with great zeal."
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Soon after
Brunelleschi's demonstrations, nearly every interested artist in Florence and in Italy used geometrical perspective in their paintings and sculpture, notably
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The most characteristic features of linear perspective are that objects appear smaller as their distance from the observer increases, and that they are subject to
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Dubery and Willats (1983:33) write that 'Oblique projection seems to have arrived in China from Rome by way of India round about the first or second century AD.'
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As shown by the quick proliferation of accurate perspective paintings in Florence, Brunelleschi likely understood (with help from his friend the mathematician
736:(1983) speculate that the Chinese acquired the technique from India, which acquired it from Ancient Rome, while others credit it as an indigenous invention of
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717:) argues correctly that the perceived size of an object is not related to its distance from the eye by a simple proportion. In the first-century BC
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drawing by Brunelleschi is known. (In fact, Brunelleschi was not known to have painted at all.) Third, in the account written by Antonio Manetti in his
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969:, which are a model of the genre, the majority of 15th century works show serious errors in their geometric construction. This is true of Masaccio's
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Rays of light travel from the object, through the picture plane, and to the viewer's eye. This is the basis for graphical perspective.
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Additionally, a central vanishing point can be used (just as with one-point perspective) to indicate frontal (foreshortened) depth.
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Systematic attempts to evolve a system of perspective are usually considered to have begun around the fifth century BC in the
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930:. Masaccio (d. 1428) achieved an illusionistic effect by placing the vanishing point at the viewer's eye level in his
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from the first or second century until the 18th century. It is not certain how they came to use the technique; Dubery and
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The Mirror, the Window & the Telescope: How Renaissance Linear Perspective Changed Our Vision of the Universe
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243:. Linear perspective is an approximate representation, generally on a flat surface, of an image as it is seen by
1013:. This book, translated around 1200 into Latin, had laid the mathematical foundation for perspective in Europe.
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2266:(1st English ed.). Cambridge, Massachusetts: Belknap Press of Harvard University Press. pp. 90–92.
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Field, J. V.; Lunardi, R.; Settle, T. B. (1989). "The perspective scheme of Masaccio's Trinity fresco".
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2362:"The Male "Mona Lisa"?: Art Historian Martin Kemp on Leonardo da Vinci's Mysterious "Salvator Mundi""
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The Geometry of an Art: The History of the Mathematical Theory of Perspective from Alberti to Monge
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Figure 10.9 shows an archetype of the classical use of oblique perspective in Chinese painting.
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studied linear perspective, wrote treatises on it, and incorporated it into their artworks.
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2221:(2010). "Classical Optics and the Perspectiva Traditions Leading to the Renaissance". In
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Raynaud, Dominique (2020). "Las fuentes Ăłpticas de Leonardo". In RamĂłn-Laca, Luis (ed.).
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Regoli, Gigetta Dalli; Gioseffi, Decio; Mellini, Gian Lorenzo; Salvini, Roberto (1968).
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Ptolemy and the Foundations of Ancient Mathematical Optics: A Source Based Guided Study
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980:), but did not publish, the mathematics behind perspective. Decades later, his friend
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fresco and of many works, including those by renowned artists like Leonardo da Vinci.
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Form of graphical projection where the projection lines converge to one or more points
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2566:"Linear perspective in Masaccio's Trinity fresco: Demonstration or self-persuasion?"
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862:'s use of upward foreshortening in his frescoes, Basilica dei Santi Apostoli, Rome,
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Raynaud, Dominique (2016). "Fact and Fiction Regarding Masaccio's Trinity Fresco".
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30:"Perspective projection" redirects here. For a more mathematical treatment, see
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680:: using flat panels on a stage to give the illusion of depth. The philosophers
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The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat
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Teaching Perspective in Art and Mathematics through Leonardo da Vinci's Work
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Optics and the Rise of Perspective. A Study in Network Knowledge Diffusion
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Illuminating Luke: The infancy narrative in Italian Renaissance painting
1397:"Empire of the Eye: The Magic of Illusion: The Trinity-Masaccio, Part 2"
815:), the earliest extant artwork known to use a consistent vanishing point
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motives, leading to the so-called "vertical perspective", common in the
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Empire of the Eye: The Magic of Illusion: The Trinity-Masaccio, Part 2
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1967:"The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece"
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can then be determined through a simple ratio, as proven by Euclid.
949:, it is placed behind the face of Jesus. In the late 15th century,
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Renaissance Theories of Vision (Visual Culture in Early Modernity)
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740:. Oblique projection is also seen in Japanese art, such as in the
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between 1415 and 1420, which included making drawings of various
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Viewpoints: Mathematical Perspective and Fractal Geometry in Art
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Manifold Mirrors: The Crossing Paths of the Arts and Mathematics
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L'Hypothèse d'Oxford. Essai sur les origines de la perspective
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MacKinnon, Nick (1993). "The Portrait of Fra Luca Pacioli".
1905:. Paris: Presses universitaires de France. pp. 132–141.
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2120:. Paris: Presses universitaires de France. pp. 72–120.
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Two-point perspective was demonstrated as early as 1525 by
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1493:"Romans paint better perspective than Renaissance artists"
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In viewing a wall, for instance, the first triangle has a
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Example of a painting that combines various perspectives:
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worked out geometric theories of perspective for use with
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1870:
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first applied the technique of foreshortening (in Rome,
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Metaphysical Perspective in Ancient Roman-Wall Painting
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allied to theatrical scenery. This was detailed within
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Architectural Representation and the Perspective Hinge
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Florence and Baghdad: Renaissance art and Arab science
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St. Peter Healing a Cripple and the Raising of Tabitha
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St. Peter Healing a Cripple and the Raising of Tabitha
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was also aware of these principles, but also used the
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The Origin of Perspective, Translated by John Goodman
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1667:"Seeing History: Is perspective learned or natural?"
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700:, so this art was not confined merely to the stage.
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328:
247:. Perspective drawing is useful for representing a
67:. Unsourced material may be challenged and removed.
5424:The Drawing of Geometric Patterns in Saracenic Art
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1828:"Perspective: The Rise of Renaissance Perspective"
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1741:"Pompeii. House of the Vettii. Fauces and Priapus"
1546:
1486:
1484:
5559:Goudreau Museum of Mathematics in Art and Science
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1900:
1716:"Why the world relies on a Chinese "perspective""
778:convention for the setting of principal figures.
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2555:PĂ©rez-GĂłmez, Alberto; Pelletier, Louise (1997).
1641:. Cambridge University Press. pp. 269–278.
2329:O'Connor, J. J.; Robertson, E. F. (July 1999).
1687:
1481:
1338:"Linear Perspective: Brunelleschi's Experiment"
831:buildings in correct perspective. According to
231: 'to see through') is one of two types of
852:resulting from the urban landscape described.
5554:European Society for Mathematics and the Arts
4728:Mathematica: A World of Numbers... and Beyond
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1778:. Stockholm: Almqvist & Wiksell. p.
1464:"The Beginner's Guide to Perspective Drawing"
782:painted a floor with convergent lines in his
625:(1344) strongly anticipate modern perspective
172:Linear Perspective: Brunelleschi's Experiment
4708:List of works designed with the golden ratio
2533:: CS1 maint: multiple names: authors list (
2135:. Archimedes. Vol. 47. pp. 53–67.
2055:"Melozzo da Forli: Master of Foreshortening"
1724:About 2000 years ago, the Chinese developed
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1124:introducing citations to additional sources
2421:"Handprint : Perspective in the world"
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2693:
2168:. Alcalá de Henares: UAH. pp. 61–62.
1774:Renaissance and Renascences in Western Art
696:had paintings in his house designed using
375:A cube drawing using two-point perspective
4768:Cathedral of Saint Mary of the Assumption
2374:
2360:Goldstein, Andrew M. (17 November 2011).
2359:
1813:Heidi J. Hornik and Mikeal Carl Parsons,
1622:
127:Learn how and when to remove this message
3606:
2676:How to Draw a Two Point Perspective Grid
2478:
2457:. Ithaca, NY: Cornell University Press.
2450:
2217:
1946:
1944:
1920:. Oxford: Bardwell Press. pp. 1–2].
1888:
1876:
1769:
1363:"How One-Point Linear Perspective Works"
1203:
1186:
1114:Relevant discussion may be found on the
1015:
854:
795:
421:
370:
315:
140:
5314:Vier BĂĽcher von Menschlicher Proportion
4436:
2597:
2588:
2563:
2492:
2166:Leonardo da Vinci. Perspectiva y visiĂłn
2163:
2130:
2035:. London: Cassell Illustrated, p. 132.
1955:(rev. ed.). Time-Life. p. 98.
1915:
1851:
1389:
1355:
1330:
14:
5638:
2640:
2559:. Cambridge, Massachusetts: MIT Press.
2341:from the original on 22 September 2015
2203:. Scribner & Welford. p. 53.
2196:
2011:. Oxford: Westview Press. p. 98.
1713:
1633:
1212:(Museum of Art Aarau, Switzerland) by
662:, as part of a developing interest in
266:, meaning that an object's dimensions
188:How One-Point Linear Perspective Works
4410:
4072:
3580:
2688:
2514:
2294:
2006:
1941:
1597:
1051:as they would appear in perspective.
928:east doors of the Florence Baptistery
2541:
2505:
2261:
1950:
1490:
1091:
1084:("Instruction of the Measurement").
1036:Piero della Francesca elaborated on
601:watercolor painting of a mill in an
65:adding citations to reliable sources
36:
5499:Journal of Mathematics and the Arts
4098:
2666:Mathematical Association of America
2427:from the original on 6 January 2007
2052:
1516:
465:Examples of curvilinear perspective
431:Examples of three-point perspective
274:appear shorter than its dimensions
24:
5513:Making Mathematics with Needlework
2508:Perspective From Basic to Creative
2472:
1918:Optics and the Rise of Perspective
1292:placed the vanishing point in his
1288:Near the end of the 15th century,
284:painters and architects including
145:Staircase in six-point perspective
25:
5677:
5339:I quattro libri dell'architettura
2655:
2510:. Australia: Thames & Hudson.
1856:. Cologne: Könemann. p. 23.
1377:from the original on 13 July 2013
575:Villa of Publius Fannius Synistor
426:A cube in three-point perspective
380:Examples of two-point perspective
329:Examples of one-point perspective
5618:
5617:
4863:Self-portrait in a Convex Mirror
4547:
2519:. Englewood Cliffs, New Jersey:
1688:Martijn de Geus (9 March 2019).
1107:relies largely or entirely on a
1096:
630:
610:
590:
566:
545:
523:
507:
498:
489:
480:
455:
446:
437:
413:
404:
395:
386:
362:
353:
344:
335:
198:
182:
166:
157:
41:
2413:
2368:
2353:
2322:
2288:
2255:
2211:
2190:
2157:
2124:
2109:
2072:
2046:
2025:
2000:
1987:
1959:
1924:
1909:
1894:
1845:
1820:
1807:
1796:
1763:
1733:
1707:
1681:
1659:
1591:
1569:"Skenographia in Fifth Century"
1305:
1282:
1272:
52:needs additional citations for
5574:National Museum of Mathematics
5326:Regole generali d'architettura
2515:Hyman, Isabelle, comp (1974).
2200:Stories of the Italian Artists
1953:Great Ages of Man: Renaissance
1714:Krikke, Jan (2 January 2018).
1606:American Philosophical Society
1561:
1538:
1510:
1456:
1423:
1087:
1029: (1482), a fresco at the
819:It is generally accepted that
791:
13:
1:
2731:Biological data visualization
2437:Retrieved on 25 December 2006
2225:; Carman, Charles H. (eds.).
1491:Hurt, Carla (9 August 2013).
1323:
993:
937:
914:
901:
863:
809:
711:
556:
534:
5099:Garden of Cosmic Speculation
2602:. Archimedes. Vol. 47.
2497:. Cambridge, Massachusetts:
2451:Edgerton, Samuel Y. (2009).
1434:Perspective Drawing Handbook
1135:"Perspective" graphical
728:Chinese artists made use of
723:Villa of P. Fannius Synistor
76:"Perspective" graphical
7:
2600:Studies on Binocular Vision
2598:Raynaud, Dominique (2016).
2589:Raynaud, Dominique (2014).
2564:Raynaud, Dominique (2003).
2517:Brunelleschi in Perspective
2141:10.1007/978-3-319-42721-8_4
2133:Studies on Binocular Vision
1916:Raynaud, Dominique (2014).
1553:. Italy: Newsweek. p.
1223:
1193:Satire on False Perspective
311:
215:Linear or point-projection
10:
5682:
4616:Islamic geometric patterns
4357:Computer-generated imagery
3899:Unchained camera technique
2771:Mathematical visualization
2444:
2116:Dominique Raynaud (1998).
1938:, chapter on Brunelleschi.
1901:Dominique Raynaud (1998).
926:and other panels from the
785:Presentation at the Temple
516:
468:
29:
5661:Composition in visual art
5613:
5582:
5536:
5490:
5437:A Mathematician's Apology
5397:
5350:
5233:
5196:
5189:
5021:
4874:
4820:
4811:
4758:
4700:
4556:
4545:
4444:
4327:
4207:
4106:
4062:
4012:
3969:
3891:
3829:
3784:
3777:
3736:
3727:
3687:
3614:
3449:
3319:
3183:
3137:
3061:
2960:
2929:
2922:
2829:
2766:Information visualization
2751:Educational visualization
2723:
2616:10.1007/978-3-319-42721-8
2593:. Oxford: Bardwell Press.
1430:D'Amelio, Joseph (2003).
1214:Matthias A. K. Zimmermann
1023:'s use of perspective in
920:), as well as Ghiberti's
197:
181:
165:
156:
151:
5549:The Bridges Organization
2942:Charles-René de Fourcroy
2791:Scientific visualization
2718:of technical information
2647:The Lives of the Artists
2493:Damisch, Hubert (1994).
2378:The Mathematical Gazette
2335:University of St Andrews
2197:Vasari, Giorgio (1885).
2031:White, Susan D. (2006).
1995:The Lives of the Artists
1972:Art Institute of Chicago
1951:Hale, John R . (1981) .
1770:Panofsky, Erwin (1960).
1519:"Egyptian Art (article)"
1265:
1082:Unterweisung der Messung
1001:Biagio Pelacani da Parma
555:from an Egyptian grave,
5411:The Grammar of Ornament
5363:Nature's Harmonic Unity
5273:De prospectiva pingendi
2582:10.1163/182539103X00684
2506:Gill, Robert W (1974).
2093:10.1163/182539189X00680
2009:Italian Renaissance Art
1852:Gärtner, Peter (1998).
1598:Smith, A. Mark (1999).
1401:National Gallery of Art
1043:De Prospectiva pingendi
849:Vita di Ser Brunellesco
825:a series of experiments
471:Curvilinear perspective
208:National Gallery of Art
5656:Functions and mappings
5646:Perspective projection
5564:Institute For Figuring
5476:The 'Life' of a Carpet
5301:A Treatise on Painting
4150:Dead-character costume
3362:Christopher R. Johnson
2914:Technical illustration
2801:Software visualization
2262:Hans, Belting (2011).
2007:Adams, Laurie (2001).
1468:The Curiously Creative
1216:
1201:
1073:to some of his works.
1033:
869:
816:
585:, 1st ct. BC
427:
376:
321:
225:
146:
5445:George David Birkhoff
5419:Ernest Hanbury Hankin
5287:De divina proportione
5267:Piero della Francesca
5246:Leon Battista Alberti
4833:Piero della Francesca
4472:Hyperboloid structure
3821:multiple-camera setup
3256:Lawrence J. Rosenblum
3069:Edward Walter Maunder
2993:Charles Joseph Minard
2811:User interface design
2786:Product visualization
2548:Yale University Press
2542:Kemp, Martin (1992).
2223:Hendrix, John Shannon
1549:Vatican Museums: Rome
1207:
1190:
1019:
982:Leon Battista Alberti
967:Piero della Francesca
858:
799:
660:art of ancient Greece
538: 31.000 BC
425:
374:
319:
302:Piero della Francesca
290:Leon Battista Alberti
144:
32:Perspective transform
5370:Frederik Macody Lund
5241:Filippo Brunelleschi
5122:Hamid Naderi Yeganeh
4984:La condition humaine
4242:Infrared photography
3608:Cinematic techniques
3536:Scientific modelling
3511:Information graphics
3251:Clifford A. Pickover
3201:William S. Cleveland
3109:Henry Norris Russell
3094:Howard G. Funkhouser
3038:Florence Nightingale
3003:Francis Amasa Walker
2899:Statistical graphics
2821:Volume visualization
2796:Social visualization
2118:L'Hypothèse d'Oxford
1935:Lives of the Artists
1803:Vatican Virgil image
1120:improve this article
1026:Delivery of the Keys
886:Masolino da Panicale
821:Filippo Brunelleschi
802:Masolino da Panicale
646:art of Ancient Egypt
286:Filippo Brunelleschi
233:graphical projection
61:improve this article
5595:Mathematical beauty
5520:Rhythm of Structure
5463:Gödel, Escher, Bach
5259:De re aedificatoria
4890:The Ancient of Days
4509:Projective geometry
4438:Mathematics and art
3516:Information science
3479:in computer science
3271:Sheelagh Carpendale
3206:George G. Robertson
3043:Karl Wilhelm Pohlke
2978:André-Michel Guerry
2854:Graph of a function
2849:Engineering drawing
2608:2016sbvo.book.....R
2233:. Farnham, Surrey:
1751:on 24 December 2007
1690:"China Projections"
1673:. 10 January 2018.
1579:on 17 December 2007
1245:Perspective control
841:Florence Baptistery
780:Ambrogio Lorenzetti
776:reverse perspective
617:The floor tiles in
605:, 12th century
560: 1500 BC
282:Italian Renaissance
241:parallel projection
235:perspective in the
5666:Italian inventions
5600:Patterns in nature
5457:Douglas Hofstadter
5083:Desmond Paul Henry
5073:Bathsheba Grossman
5005:The Swallow's Tail
4926:Giorgio de Chirico
4798:Sydney Opera House
4653:Croatian interlace
4292:Tilted plane focus
4232:Forced perspective
4140:Costumed character
4125:Air bladder effect
3744:Wide / Long / Full
3556:Volume cartography
3320:Early 21st century
3216:Catherine Plaisant
3211:Bruce H. McCormick
3165:Mary Eleanor Spear
3155:Arthur H. Robinson
3089:Arthur Lyon Bowley
3062:Early 20th century
2909:Technical drawings
2781:Molecular graphics
2756:Flow visualization
2746:Data visualization
2650:. Florence, Italy.
2235:Ashgate Publishing
2033:Draw Like Da Vinci
1497:Found in Antiquity
1217:
1202:
1065:), illustrated by
1058:Divina proportione
1034:
910:The Feast of Herod
870:
817:
730:oblique projection
653:red-figure pottery
603:oblique projection
428:
377:
322:
147:
18:Linear perspective
5651:Technical drawing
5633:
5632:
5486:
5485:
5450:Aesthetic Measure
5321:Sebastiano Serlio
5295:Leonardo da Vinci
5185:
5184:
5177:Margaret Wertheim
4838:Leonardo da Vinci
4404:
4403:
4400:
4399:
4277:SchĂĽfftan process
4257:Multiple exposure
4170:Prosthetic makeup
4058:
4057:
4035:Freeze-frame shot
4020:Establishing shot
3887:
3886:
3794:Over-the-shoulder
3574:
3573:
3551:Visual perception
3501:Graphic organizer
3474:Computer graphics
3445:
3444:
3427:Martin Wattenberg
3402:Hanspeter Pfister
3357:Martin Krzywinski
3281:Jock D. Mackinlay
3261:Thomas A. DeFanti
3184:Late 20th century
3104:Ejnar Hertzsprung
2806:Technical drawing
2625:978-3-319-42720-1
2464:978-0-8014-4758-7
2364:. Blouin Artinfo.
2273:978-0-674-05004-4
2248:978-1-409400-24-0
2175:978-84-18254-89-5
2150:978-3-319-42720-1
2053:Harness, Brenda.
2041:978-1-84403-444-4
2018:978-0-8133-4902-2
1879:, pp. 44–46.
1863:978-3-8290-0701-6
1648:978-0-521-72876-8
1615:978-0-87169-893-3
1438:. Dover. p.
1290:Leonardo da Vinci
1185:
1184:
1170:
1067:Leonardo da Vinci
1063:Divine Proportion
946:The Tribute Money
249:three-dimensional
213:
212:
137:
136:
129:
111:
16:(Redirected from
5673:
5621:
5620:
5471:Nikos Salingaros
5194:
5193:
5162:Hiroshi Sugimoto
5112:Robert Longhurst
5058:Helaman Ferguson
5013:Crockett Johnson
4942:Circle Limit III
4911:Danseuse au café
4818:
4817:
4788:Pyramid of Khufu
4551:
4431:
4424:
4417:
4408:
4407:
4377:Optical printing
4252:Lighting effects
4237:Front projection
4200:Theatrical blood
4160:Miniature effect
4135:Bullet hit squib
4093:
4086:
4079:
4070:
4069:
4013:Other techniques
3802:
3782:
3781:
3778:Camera placement
3734:
3733:
3601:
3594:
3587:
3578:
3577:
3561:Volume rendering
3546:Visual analytics
3541:Spatial analysis
3521:Misleading graph
3372:David McCandless
3347:Gordon Kindlmann
3311:Alfred Inselberg
3306:Leland Wilkinson
3241:Michael Friendly
3175:Howard T. Fisher
3138:Mid 20th century
3079:W. E. B. Du Bois
2983:William Playfair
2973:Adolphe Quetelet
2947:Joseph Priestley
2930:Pre-19th century
2927:
2926:
2894:Skeletal formula
2761:Geovisualization
2736:Chemical imaging
2709:
2702:
2695:
2686:
2685:
2651:
2637:
2594:
2585:
2560:
2551:
2538:
2532:
2524:
2511:
2502:
2489:
2480:Andersen, Kirsti
2468:
2438:
2436:
2434:
2432:
2417:
2411:
2410:
2372:
2366:
2365:
2357:
2351:
2350:
2348:
2346:
2326:
2320:
2319:
2301:The Golden Ratio
2292:
2286:
2285:
2259:
2253:
2252:
2232:
2215:
2209:
2208:
2194:
2188:
2187:
2161:
2155:
2154:
2128:
2122:
2121:
2113:
2107:
2106:
2101:
2076:
2070:
2069:
2067:
2065:
2050:
2044:
2029:
2023:
2022:
2004:
1998:
1991:
1985:
1984:
1982:
1980:
1963:
1957:
1956:
1948:
1939:
1928:
1922:
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1913:
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1892:
1886:
1880:
1874:
1868:
1867:
1849:
1843:
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1838:
1824:
1818:
1811:
1805:
1800:
1794:
1793:
1777:
1767:
1761:
1760:
1758:
1756:
1747:. Archived from
1737:
1731:
1730:
1711:
1705:
1704:
1702:
1700:
1685:
1679:
1678:
1663:
1657:
1655:
1631:
1620:
1619:
1604:. Philadelphia:
1595:
1589:
1588:
1586:
1584:
1575:. Archived from
1565:
1559:
1558:
1552:
1542:
1536:
1535:
1533:
1531:
1514:
1508:
1507:
1505:
1503:
1488:
1479:
1478:
1476:
1474:
1460:
1454:
1453:
1437:
1427:
1421:
1420:
1418:
1416:
1407:. Archived from
1393:
1387:
1386:
1384:
1382:
1359:
1353:
1352:
1350:
1348:
1334:
1317:
1309:
1303:
1298:behind Christ's
1286:
1280:
1276:
1180:
1177:
1171:
1169:
1128:
1100:
1092:
998:
995:
990:
951:Melozzo da Forlì
942:
939:
919:
916:
906:
903:
882:Lorenzo Ghiberti
868:
865:
860:Melozzo da Forlì
814:
811:
754:ruins of Pompeii
716:
713:
614:
594:
573:Fresco from the
570:
561:
558:
549:
539:
536:
527:
511:
502:
493:
484:
459:
450:
441:
417:
408:
399:
390:
366:
357:
348:
339:
202:
201:
186:
185:
170:
169:
161:
149:
148:
132:
125:
121:
118:
112:
110:
69:
45:
37:
21:
5681:
5680:
5676:
5675:
5674:
5672:
5671:
5670:
5636:
5635:
5634:
5629:
5609:
5605:Sacred geometry
5578:
5544:Ars Mathematica
5532:
5482:
5393:
5346:
5333:Andrea Palladio
5229:
5222:De architectura
5181:
5137:Antoine Pevsner
5117:Jeanette McLeod
5068:Susan Goldstine
5017:
4876:
4870:
4807:
4793:Sagrada FamĂlia
4754:
4696:
4564:Algorithmic art
4552:
4543:
4539:Wallpaper group
4477:Minimal surface
4440:
4435:
4405:
4396:
4323:
4282:Shutter effects
4267:Rear projection
4203:
4102:
4100:Special effects
4097:
4068:
4054:
4008:
3965:
3892:Camera movement
3883:
3874:Worm's-eye view
3825:
3800:
3773:
3723:
3683:
3610:
3605:
3575:
3570:
3566:Information art
3506:Imaging science
3451:
3441:
3422:Fernanda Viégas
3417:Moritz Stefaner
3342:Jessica Hullman
3315:
3286:Alan MacEachren
3236:Ben Shneiderman
3179:
3133:
3057:
2956:
2918:
2831:
2825:
2776:Medical imaging
2719:
2713:
2680:Creating Comics
2658:
2642:Vasari, Giorgio
2626:
2526:
2525:
2475:
2473:Further reading
2465:
2447:
2442:
2441:
2430:
2428:
2419:
2418:
2414:
2391:10.2307/3619717
2373:
2369:
2358:
2354:
2344:
2342:
2327:
2323:
2316:
2308:. p. 126.
2293:
2289:
2274:
2260:
2256:
2249:
2219:El-Bizri, Nader
2216:
2212:
2195:
2191:
2176:
2162:
2158:
2151:
2129:
2125:
2114:
2110:
2099:
2077:
2073:
2063:
2061:
2051:
2047:
2030:
2026:
2019:
2005:
2001:
1992:
1988:
1978:
1976:
1965:
1964:
1960:
1949:
1942:
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1910:
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1887:
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1808:
1801:
1797:
1790:
1768:
1764:
1754:
1752:
1739:
1738:
1734:
1726:dengjiao toushi
1712:
1708:
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1696:
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1331:
1326:
1321:
1320:
1310:
1306:
1287:
1283:
1277:
1273:
1268:
1240:Cutaway drawing
1226:
1210:The Frozen City
1198:William Hogarth
1181:
1175:
1172:
1129:
1127:
1113:
1101:
1090:
1049:Platonic solids
1021:Pietro Perugino
996:
986:
940:
917:
907:), Donatello's
904:
866:
837:Antonio Manetti
812:
794:
714:
633:
626:
615:
606:
595:
586:
571:
562:
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541:
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367:
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349:
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331:
314:
253:two-dimensional
239:; the other is
199:
183:
167:
152:External videos
133:
122:
116:
113:
70:
68:
58:
46:
35:
28:
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11:
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5658:
5653:
5648:
5631:
5630:
5628:
5627:
5614:
5611:
5610:
5608:
5607:
5602:
5597:
5592:
5586:
5584:
5580:
5579:
5577:
5576:
5571:
5566:
5561:
5556:
5551:
5546:
5540:
5538:
5534:
5533:
5531:
5530:
5523:
5516:
5509:
5502:
5494:
5492:
5488:
5487:
5484:
5483:
5481:
5480:
5479:
5478:
5468:
5467:
5466:
5454:
5453:
5452:
5442:
5441:
5440:
5428:
5427:
5426:
5416:
5415:
5414:
5401:
5399:
5395:
5394:
5392:
5391:
5390:
5389:
5387:The Greek Vase
5379:
5378:
5377:
5367:
5366:
5365:
5354:
5352:
5348:
5347:
5345:
5344:
5343:
5342:
5330:
5329:
5328:
5318:
5317:
5316:
5309:Albrecht DĂĽrer
5306:
5305:
5304:
5292:
5291:
5290:
5278:
5277:
5276:
5264:
5263:
5262:
5255:
5243:
5237:
5235:
5231:
5230:
5228:
5227:
5226:
5225:
5213:
5212:
5211:
5200:
5198:
5191:
5187:
5186:
5183:
5182:
5180:
5179:
5174:
5172:Roman Verostko
5169:
5164:
5159:
5154:
5149:
5147:Alba Rojo Cama
5144:
5139:
5134:
5129:
5124:
5119:
5114:
5109:
5104:
5103:
5102:
5093:Charles Jencks
5090:
5085:
5080:
5078:George W. Hart
5075:
5070:
5065:
5060:
5055:
5050:
5045:
5040:
5031:
5025:
5023:
5019:
5018:
5016:
5015:
5010:
5009:
5008:
5001:
4989:
4988:
4987:
4975:
4974:
4973:
4966:
4959:
4952:
4945:
4933:
4928:
4923:
4922:
4921:
4914:
4905:Jean Metzinger
4902:
4901:
4900:
4893:
4880:
4878:
4872:
4871:
4869:
4868:
4867:
4866:
4854:
4852:Albrecht DĂĽrer
4849:
4848:
4847:
4835:
4830:
4824:
4822:
4815:
4809:
4808:
4806:
4805:
4800:
4795:
4790:
4785:
4780:
4775:
4770:
4764:
4762:
4756:
4755:
4753:
4752:
4745:
4738:
4731:
4724:
4717:
4710:
4704:
4702:
4698:
4697:
4695:
4694:
4689:
4684:
4679:
4678:
4677:
4667:
4662:
4661:
4660:
4655:
4650:
4640:
4639:
4638:
4633:
4628:
4623:
4613:
4608:
4603:
4598:
4593:
4592:
4591:
4586:
4581:
4571:
4569:Anamorphic art
4566:
4560:
4558:
4554:
4553:
4546:
4544:
4542:
4541:
4536:
4531:
4526:
4525:
4524:
4519:
4511:
4506:
4501:
4500:
4499:
4497:Camera obscura
4494:
4484:
4479:
4474:
4469:
4464:
4459:
4454:
4448:
4446:
4442:
4441:
4434:
4433:
4426:
4419:
4411:
4402:
4401:
4398:
4397:
4395:
4394:
4389:
4384:
4379:
4374:
4369:
4364:
4359:
4354:
4344:
4339:
4333:
4331:
4325:
4324:
4322:
4321:
4316:
4315:
4314:
4309:
4304:
4294:
4289:
4284:
4279:
4274:
4272:Reverse motion
4269:
4264:
4259:
4254:
4249:
4244:
4239:
4234:
4229:
4224:
4219:
4213:
4211:
4205:
4204:
4202:
4197:
4192:
4190:Matte painting
4187:
4182:
4177:
4172:
4167:
4157:
4152:
4147:
4142:
4137:
4132:
4127:
4122:
4115:Aerial rigging
4112:
4110:
4104:
4103:
4096:
4095:
4088:
4081:
4073:
4067:
4066:
4063:
4060:
4059:
4056:
4055:
4053:
4052:
4047:
4042:
4037:
4032:
4027:
4022:
4016:
4014:
4010:
4009:
4007:
4006:
4001:
4000:
3999:
3994:
3989:
3987:Depth of field
3984:
3973:
3971:
3967:
3966:
3964:
3963:
3958:
3953:
3948:
3943:
3938:
3933:
3928:
3923:
3918:
3917:
3916:
3906:
3901:
3895:
3893:
3889:
3888:
3885:
3884:
3882:
3881:
3876:
3871:
3866:
3861:
3856:
3851:
3846:
3841:
3835:
3833:
3827:
3826:
3824:
3823:
3814:
3809:
3804:
3799:Point-of-view
3796:
3791:
3785:
3779:
3775:
3774:
3772:
3771:
3766:
3761:
3756:
3751:
3746:
3740:
3738:
3731:
3725:
3724:
3722:
3721:
3720:
3719:
3714:
3709:
3699:
3693:
3691:
3685:
3684:
3682:
3681:
3676:
3671:
3666:
3661:
3656:
3651:
3646:
3641:
3636:
3631:
3626:
3620:
3618:
3612:
3611:
3604:
3603:
3596:
3589:
3581:
3572:
3571:
3569:
3568:
3563:
3558:
3553:
3548:
3543:
3538:
3533:
3531:Patent drawing
3528:
3523:
3518:
3513:
3508:
3503:
3498:
3496:Graphic design
3493:
3488:
3483:
3482:
3481:
3471:
3466:
3461:
3455:
3453:
3447:
3446:
3443:
3442:
3440:
3439:
3437:Hadley Wickham
3434:
3429:
3424:
3419:
3414:
3409:
3404:
3399:
3394:
3392:Tamara Munzner
3389:
3384:
3379:
3374:
3369:
3364:
3359:
3354:
3349:
3344:
3339:
3334:
3329:
3323:
3321:
3317:
3316:
3314:
3313:
3308:
3303:
3298:
3293:
3291:David Goodsell
3288:
3283:
3278:
3276:Cynthia Brewer
3273:
3268:
3263:
3258:
3253:
3248:
3243:
3238:
3233:
3228:
3223:
3218:
3213:
3208:
3203:
3198:
3193:
3187:
3185:
3181:
3180:
3178:
3177:
3172:
3170:Edgar Anderson
3167:
3162:
3157:
3152:
3147:
3145:Jacques Bertin
3141:
3139:
3135:
3134:
3132:
3131:
3126:
3121:
3116:
3111:
3106:
3101:
3099:John B. Peddle
3096:
3091:
3086:
3081:
3076:
3071:
3065:
3063:
3059:
3058:
3056:
3055:
3053:Francis Galton
3050:
3048:Toussaint Loua
3045:
3040:
3035:
3030:
3028:Georg von Mayr
3025:
3020:
3018:Matthew Sankey
3015:
3010:
3005:
3000:
2995:
2990:
2985:
2980:
2975:
2970:
2964:
2962:
2958:
2957:
2955:
2954:
2949:
2944:
2939:
2933:
2931:
2924:
2920:
2919:
2917:
2916:
2911:
2906:
2901:
2896:
2891:
2886:
2884:Sankey diagram
2881:
2876:
2871:
2866:
2861:
2856:
2851:
2846:
2841:
2835:
2833:
2827:
2826:
2824:
2823:
2818:
2816:Visual culture
2813:
2808:
2803:
2798:
2793:
2788:
2783:
2778:
2773:
2768:
2763:
2758:
2753:
2748:
2743:
2738:
2733:
2727:
2725:
2721:
2720:
2712:
2711:
2704:
2697:
2689:
2683:
2682:
2673:
2668:
2657:
2656:External links
2654:
2653:
2652:
2638:
2624:
2595:
2586:
2576:(1): 331–344.
2561:
2552:
2539:
2512:
2503:
2490:
2474:
2471:
2470:
2469:
2463:
2446:
2443:
2440:
2439:
2412:
2367:
2352:
2331:"Luca Pacioli"
2321:
2314:
2306:Broadway Books
2287:
2272:
2254:
2247:
2210:
2189:
2174:
2156:
2149:
2123:
2108:
2071:
2059:Fine Art Touch
2045:
2024:
2017:
1999:
1986:
1958:
1940:
1923:
1908:
1893:
1881:
1869:
1862:
1844:
1819:
1806:
1795:
1788:
1762:
1732:
1706:
1680:
1671:Eclectic Light
1658:
1647:
1635:Cucker, Felipe
1621:
1614:
1608:. p. 57.
1590:
1560:
1537:
1517:Calvert, Amy.
1509:
1480:
1455:
1448:
1422:
1388:
1354:
1328:
1327:
1325:
1322:
1319:
1318:
1304:
1281:
1270:
1269:
1267:
1264:
1263:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1225:
1222:
1183:
1182:
1118:. Please help
1104:
1102:
1095:
1089:
1086:
1078:Albrecht DĂĽrer
1031:Sistine Chapel
1010:Book of Optics
923:Jacob and Esau
793:
790:
764:Vatican Virgil
746:Torii Kiyonaga
632:
629:
628:
627:
616:
609:
607:
596:
589:
587:
572:
565:
563:
551:
544:
542:
529:
522:
518:
515:
514:
513:
506:
504:
497:
495:
488:
486:
479:
469:Main article:
466:
463:
462:
461:
454:
452:
445:
443:
436:
432:
429:
420:
419:
412:
410:
403:
401:
394:
392:
385:
381:
378:
369:
368:
361:
359:
352:
350:
343:
341:
334:
330:
327:
313:
310:
265:
264:foreshortening
211:
210:
195:
194:
179:
178:
163:
162:
154:
153:
135:
134:
49:
47:
40:
26:
9:
6:
4:
3:
2:
5678:
5667:
5664:
5662:
5659:
5657:
5654:
5652:
5649:
5647:
5644:
5643:
5641:
5626:
5625:
5616:
5615:
5612:
5606:
5603:
5601:
5598:
5596:
5593:
5591:
5590:Droste effect
5588:
5587:
5585:
5581:
5575:
5572:
5570:
5569:Mathemalchemy
5567:
5565:
5562:
5560:
5557:
5555:
5552:
5550:
5547:
5545:
5542:
5541:
5539:
5537:Organizations
5535:
5529:
5528:
5524:
5522:
5521:
5517:
5515:
5514:
5510:
5508:
5507:
5506:Lumen Naturae
5503:
5501:
5500:
5496:
5495:
5493:
5489:
5477:
5474:
5473:
5472:
5469:
5465:
5464:
5460:
5459:
5458:
5455:
5451:
5448:
5447:
5446:
5443:
5439:
5438:
5434:
5433:
5432:
5429:
5425:
5422:
5421:
5420:
5417:
5413:
5412:
5408:
5407:
5406:
5403:
5402:
5400:
5396:
5388:
5385:
5384:
5383:
5380:
5376:
5373:
5372:
5371:
5368:
5364:
5361:
5360:
5359:
5358:Samuel Colman
5356:
5355:
5353:
5349:
5341:
5340:
5336:
5335:
5334:
5331:
5327:
5324:
5323:
5322:
5319:
5315:
5312:
5311:
5310:
5307:
5303:
5302:
5298:
5297:
5296:
5293:
5289:
5288:
5284:
5283:
5282:
5279:
5275:
5274:
5270:
5269:
5268:
5265:
5261:
5260:
5256:
5254:
5253:
5249:
5248:
5247:
5244:
5242:
5239:
5238:
5236:
5232:
5224:
5223:
5219:
5218:
5217:
5214:
5210:
5207:
5206:
5205:
5202:
5201:
5199:
5195:
5192:
5188:
5178:
5175:
5173:
5170:
5168:
5167:Daina Taimiņa
5165:
5163:
5160:
5158:
5155:
5153:
5152:Reza Sarhangi
5150:
5148:
5145:
5143:
5140:
5138:
5135:
5133:
5130:
5128:
5125:
5123:
5120:
5118:
5115:
5113:
5110:
5108:
5105:
5101:
5100:
5096:
5095:
5094:
5091:
5089:
5086:
5084:
5081:
5079:
5076:
5074:
5071:
5069:
5066:
5064:
5063:Peter Forakis
5061:
5059:
5056:
5054:
5051:
5049:
5046:
5044:
5041:
5039:
5035:
5032:
5030:
5027:
5026:
5024:
5020:
5014:
5011:
5007:
5006:
5002:
5000:
4999:
4995:
4994:
4993:
4992:Salvador DalĂ
4990:
4986:
4985:
4981:
4980:
4979:
4978:René Magritte
4976:
4972:
4971:
4967:
4965:
4964:
4960:
4958:
4957:
4953:
4951:
4950:
4949:Print Gallery
4946:
4944:
4943:
4939:
4938:
4937:
4934:
4932:
4929:
4927:
4924:
4920:
4919:
4918:L'Oiseau bleu
4915:
4913:
4912:
4908:
4907:
4906:
4903:
4899:
4898:
4894:
4892:
4891:
4887:
4886:
4885:
4884:William Blake
4882:
4881:
4879:
4873:
4865:
4864:
4860:
4859:
4858:
4855:
4853:
4850:
4846:
4845:
4844:Vitruvian Man
4841:
4840:
4839:
4836:
4834:
4831:
4829:
4828:Paolo Uccello
4826:
4825:
4823:
4819:
4816:
4814:
4810:
4804:
4801:
4799:
4796:
4794:
4791:
4789:
4786:
4784:
4781:
4779:
4776:
4774:
4771:
4769:
4766:
4765:
4763:
4761:
4757:
4751:
4750:
4749:Pi in the Sky
4746:
4744:
4743:
4739:
4737:
4736:
4732:
4730:
4729:
4725:
4723:
4722:
4721:Mathemalchemy
4718:
4716:
4715:
4711:
4709:
4706:
4705:
4703:
4699:
4693:
4690:
4688:
4685:
4683:
4680:
4676:
4673:
4672:
4671:
4668:
4666:
4663:
4659:
4656:
4654:
4651:
4649:
4646:
4645:
4644:
4641:
4637:
4634:
4632:
4629:
4627:
4624:
4622:
4619:
4618:
4617:
4614:
4612:
4609:
4607:
4604:
4602:
4599:
4597:
4594:
4590:
4589:Vastu shastra
4587:
4585:
4582:
4580:
4579:Geodesic dome
4577:
4576:
4575:
4572:
4570:
4567:
4565:
4562:
4561:
4559:
4555:
4550:
4540:
4537:
4535:
4532:
4530:
4527:
4523:
4520:
4518:
4515:
4514:
4512:
4510:
4507:
4505:
4504:Plastic ratio
4502:
4498:
4495:
4493:
4492:Camera lucida
4490:
4489:
4488:
4485:
4483:
4480:
4478:
4475:
4473:
4470:
4468:
4465:
4463:
4460:
4458:
4455:
4453:
4450:
4449:
4447:
4443:
4439:
4432:
4427:
4425:
4420:
4418:
4413:
4412:
4409:
4393:
4390:
4388:
4385:
4383:
4380:
4378:
4375:
4373:
4370:
4368:
4365:
4363:
4360:
4358:
4355:
4352:
4348:
4345:
4343:
4340:
4338:
4335:
4334:
4332:
4330:
4326:
4320:
4317:
4313:
4312:Speed ramping
4310:
4308:
4305:
4303:
4300:
4299:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4278:
4275:
4273:
4270:
4268:
4265:
4263:
4260:
4258:
4255:
4253:
4250:
4248:
4245:
4243:
4240:
4238:
4235:
4233:
4230:
4228:
4225:
4223:
4220:
4218:
4215:
4214:
4212:
4210:
4206:
4201:
4198:
4196:
4193:
4191:
4188:
4186:
4183:
4181:
4178:
4176:
4173:
4171:
4168:
4165:
4161:
4158:
4156:
4153:
4151:
4148:
4146:
4145:Creature suit
4143:
4141:
4138:
4136:
4133:
4131:
4128:
4126:
4123:
4120:
4116:
4113:
4111:
4109:
4105:
4101:
4094:
4089:
4087:
4082:
4080:
4075:
4074:
4071:
4065:
4064:
4061:
4051:
4048:
4046:
4043:
4041:
4038:
4036:
4033:
4031:
4028:
4026:
4023:
4021:
4018:
4017:
4015:
4011:
4005:
4002:
3998:
3995:
3993:
3990:
3988:
3985:
3983:
3980:
3979:
3978:
3975:
3974:
3972:
3968:
3962:
3959:
3957:
3954:
3952:
3951:Walk and talk
3949:
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3813:
3810:
3808:
3805:
3803:
3797:
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3787:
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3780:
3776:
3770:
3767:
3765:
3762:
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3757:
3755:
3752:
3750:
3747:
3745:
3742:
3741:
3739:
3735:
3732:
3730:
3726:
3718:
3717:Sound effects
3715:
3713:
3710:
3708:
3705:
3704:
3703:
3700:
3698:
3695:
3694:
3692:
3690:
3686:
3680:
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3519:
3517:
3514:
3512:
3509:
3507:
3504:
3502:
3499:
3497:
3494:
3492:
3491:Graph drawing
3489:
3487:
3484:
3480:
3477:
3476:
3475:
3472:
3470:
3467:
3465:
3462:
3460:
3457:
3456:
3454:
3448:
3438:
3435:
3433:
3430:
3428:
3425:
3423:
3420:
3418:
3415:
3413:
3412:Claudio Silva
3410:
3408:
3405:
3403:
3400:
3398:
3395:
3393:
3390:
3388:
3385:
3383:
3380:
3378:
3377:Mauro Martino
3375:
3373:
3370:
3368:
3365:
3363:
3360:
3358:
3355:
3353:
3350:
3348:
3345:
3343:
3340:
3338:
3335:
3333:
3330:
3328:
3325:
3324:
3322:
3318:
3312:
3309:
3307:
3304:
3302:
3301:Michael Maltz
3299:
3297:
3294:
3292:
3289:
3287:
3284:
3282:
3279:
3277:
3274:
3272:
3269:
3267:
3266:George Furnas
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3247:
3246:Howard Wainer
3244:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3188:
3186:
3182:
3176:
3173:
3171:
3168:
3166:
3163:
3161:
3158:
3156:
3153:
3151:
3150:Rudolf Modley
3148:
3146:
3143:
3142:
3140:
3136:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3114:Max O. Lorenz
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3092:
3090:
3087:
3085:
3082:
3080:
3077:
3075:
3072:
3070:
3067:
3066:
3064:
3060:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3023:Charles Booth
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
2999:
2998:Luigi Perozzo
2996:
2994:
2991:
2989:
2988:August Kekulé
2986:
2984:
2981:
2979:
2976:
2974:
2971:
2969:
2968:Charles Dupin
2966:
2965:
2963:
2959:
2953:
2952:Gaspard Monge
2950:
2948:
2945:
2943:
2940:
2938:
2937:Edmond Halley
2935:
2934:
2932:
2928:
2925:
2921:
2915:
2912:
2910:
2907:
2905:
2902:
2900:
2897:
2895:
2892:
2890:
2887:
2885:
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2880:
2877:
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2872:
2870:
2867:
2865:
2862:
2860:
2857:
2855:
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2847:
2845:
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2840:
2837:
2836:
2834:
2828:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2804:
2802:
2799:
2797:
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2741:Crime mapping
2739:
2737:
2734:
2732:
2729:
2728:
2726:
2722:
2717:
2716:Visualization
2710:
2705:
2703:
2698:
2696:
2691:
2690:
2687:
2681:
2677:
2674:
2672:
2669:
2667:
2663:
2660:
2659:
2649:
2648:
2643:
2639:
2635:
2631:
2627:
2621:
2617:
2613:
2609:
2605:
2601:
2596:
2592:
2587:
2583:
2579:
2575:
2571:
2567:
2562:
2558:
2553:
2549:
2545:
2540:
2536:
2530:
2522:
2521:Prentice-Hall
2518:
2513:
2509:
2504:
2500:
2496:
2491:
2487:
2486:
2481:
2477:
2476:
2466:
2460:
2456:
2455:
2449:
2448:
2426:
2422:
2416:
2408:
2404:
2400:
2396:
2392:
2388:
2384:
2380:
2379:
2371:
2363:
2356:
2340:
2336:
2332:
2325:
2317:
2315:0-7679-0816-3
2311:
2307:
2303:
2302:
2297:
2291:
2283:
2279:
2275:
2269:
2265:
2258:
2250:
2244:
2240:
2236:
2231:
2230:
2224:
2220:
2214:
2207:
2202:
2201:
2193:
2185:
2181:
2177:
2171:
2167:
2160:
2152:
2146:
2142:
2138:
2134:
2127:
2119:
2112:
2104:
2098:
2094:
2090:
2087:(2): 31–118.
2086:
2082:
2075:
2060:
2056:
2049:
2042:
2038:
2034:
2028:
2020:
2014:
2010:
2003:
1997:, "Masaccio".
1996:
1990:
1974:
1973:
1968:
1962:
1954:
1947:
1945:
1937:
1936:
1927:
1919:
1912:
1904:
1897:
1891:, p. 40.
1890:
1889:Edgerton 2009
1885:
1878:
1877:Edgerton 2009
1873:
1865:
1859:
1855:
1848:
1833:
1829:
1823:
1816:
1810:
1804:
1799:
1791:
1789:0-06-430026-9
1785:
1781:
1776:
1775:
1766:
1750:
1746:
1742:
1736:
1729:
1727:
1721:
1717:
1710:
1695:
1691:
1684:
1677:
1672:
1668:
1662:
1654:
1650:
1644:
1640:
1636:
1630:
1628:
1626:
1617:
1611:
1607:
1603:
1602:
1594:
1578:
1574:
1570:
1564:
1556:
1551:
1550:
1541:
1526:
1525:
1520:
1513:
1498:
1494:
1487:
1485:
1469:
1465:
1459:
1451:
1449:9780486432083
1445:
1441:
1436:
1435:
1426:
1411:on 1 May 2013
1410:
1406:
1402:
1398:
1392:
1376:
1372:
1368:
1364:
1358:
1343:
1339:
1333:
1329:
1314:
1308:
1301:
1297:
1296:
1291:
1285:
1275:
1271:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1238:
1236:
1233:
1231:
1228:
1227:
1221:
1215:
1211:
1206:
1199:
1195:
1194:
1189:
1179:
1176:February 2023
1168:
1165:
1161:
1158:
1154:
1151:
1147:
1144:
1140:
1137: –
1136:
1132:
1131:Find sources:
1125:
1121:
1117:
1111:
1110:
1109:single source
1105:This section
1103:
1099:
1094:
1093:
1085:
1083:
1079:
1074:
1072:
1071:shallow focus
1068:
1064:
1060:
1059:
1054:
1050:
1045:
1044:
1039:
1032:
1028:
1027:
1022:
1018:
1014:
1012:
1011:
1006:
1002:
991:
989:
983:
979:
974:
972:
968:
962:
961:and others).
960:
956:
952:
948:
947:
935:
934:
929:
925:
924:
912:
911:
899:
895:
894:Filippo Lippi
891:
890:Paolo Uccello
887:
883:
879:
875:
861:
857:
853:
850:
844:
842:
838:
834:
830:
826:
822:
807:
803:
798:
789:
787:
786:
781:
777:
773:
772:Byzantine art
767:
765:
760:
755:
752:found in the
749:
748:(1752–1815).
747:
744:paintings of
743:
739:
738:Ancient China
735:
731:
726:
724:
720:
715: 300 BC
709:
708:
703:
699:
695:
691:
687:
683:
679:
675:
674:
669:
665:
661:
656:
654:
651:
650:Ancient Greek
647:
643:
639:
631:Early history
624:
620:
613:
608:
604:
600:
593:
588:
584:
580:
576:
569:
564:
554:
548:
543:
532:
526:
521:
520:
510:
505:
501:
496:
492:
487:
483:
478:
477:
476:
472:
458:
453:
449:
444:
440:
435:
434:
424:
416:
411:
407:
402:
398:
393:
389:
384:
383:
373:
365:
360:
356:
351:
347:
342:
338:
333:
332:
326:
318:
309:
307:
303:
299:
298:Paolo Uccello
295:
291:
287:
283:
279:
277:
276:perpendicular
273:
272:line of sight
269:
263:
260:
258:
255:medium, like
254:
250:
246:
242:
238:
234:
230:
229:
228:
222:
218:
209:
205:
196:
193:
189:
180:
177:
173:
164:
160:
155:
150:
143:
139:
131:
128:
120:
109:
106:
102:
99:
95:
92:
88:
85:
81:
78: –
77:
73:
72:Find sources:
66:
62:
56:
55:
50:This article
48:
44:
39:
38:
33:
19:
5622:
5525:
5518:
5511:
5504:
5497:
5491:Publications
5475:
5461:
5449:
5435:
5423:
5409:
5386:
5382:Jay Hambidge
5375:Ad Quadratum
5374:
5362:
5337:
5325:
5313:
5299:
5285:
5281:Luca Pacioli
5271:
5257:
5250:
5220:
5208:
5132:Hinke Osinga
5127:István Orosz
5097:
5088:Anthony Hill
5043:Scott Draves
5038:Erik Demaine
5022:Contemporary
5003:
4996:
4982:
4968:
4961:
4954:
4947:
4940:
4936:M. C. Escher
4916:
4909:
4895:
4888:
4861:
4857:Parmigianino
4842:
4773:Hagia Sophia
4747:
4740:
4733:
4726:
4719:
4712:
4596:Computer art
4574:Architecture
4534:Tessellation
4517:Architecture
4486:
4467:Golden ratio
4387:Split screen
4382:Smallgantics
4372:Match moving
4180:Pyrotechnics
4130:Animatronics
3970:Lens effects
3831:Camera angle
3819: /
3788:
3702:Non-diegetic
3526:Neuroimaging
3486:CPK coloring
3469:Color coding
3407:Hans Rosling
3387:Miriah Meyer
3352:Aaron Koblin
3337:Jeffrey Heer
3231:Edward Tufte
3226:Pat Hanrahan
3196:Nigel Holmes
3074:Otto Neurath
3013:Oliver Byrne
2961:19th century
2646:
2599:
2590:
2573:
2569:
2556:
2543:
2516:
2507:
2494:
2484:
2453:
2429:. Retrieved
2415:
2385:(479): 206.
2382:
2376:
2370:
2355:
2345:23 September
2343:. Retrieved
2324:
2304:. New York:
2300:
2296:Livio, Mario
2290:
2263:
2257:
2228:
2213:
2204:
2199:
2192:
2165:
2159:
2132:
2126:
2117:
2111:
2084:
2080:
2074:
2062:. Retrieved
2058:
2048:
2032:
2027:
2008:
2002:
1994:
1989:
1979:20 September
1977:. Retrieved
1970:
1961:
1952:
1933:
1926:
1917:
1911:
1902:
1896:
1884:
1872:
1854:Brunelleschi
1853:
1847:
1835:. Retrieved
1831:
1822:
1814:
1809:
1798:
1773:
1765:
1753:. Retrieved
1749:the original
1745:SUNY Buffalo
1735:
1725:
1723:
1719:
1709:
1697:. Retrieved
1693:
1683:
1674:
1670:
1661:
1652:
1638:
1600:
1593:
1581:. Retrieved
1577:the original
1563:
1548:
1540:
1528:. Retrieved
1524:Khan Academy
1522:
1512:
1500:. Retrieved
1496:
1471:. Retrieved
1467:
1458:
1433:
1425:
1413:. Retrieved
1409:the original
1391:
1379:. Retrieved
1371:Khan Academy
1367:Smarthistory
1357:
1345:. Retrieved
1342:Khan Academy
1332:
1307:
1293:
1284:
1274:
1250:Trompe-l'Ĺ“il
1235:Camera angle
1230:Anamorphosis
1218:
1209:
1191:
1173:
1163:
1156:
1149:
1142:
1130:
1106:
1081:
1075:
1062:
1056:
1053:Luca Pacioli
1041:
1037:
1035:
1024:
1008:
1003:who studied
985:
975:
970:
963:
944:
933:Holy Trinity
931:
921:
908:
897:
871:
848:
845:
818:
805:
783:
768:
759:Philostratus
750:
727:
705:
698:skenographia
697:
690:skenographia
689:
678:skenographia
677:
671:
657:
640:, also from
634:
623:Annunciation
622:
599:Song dynasty
531:Chauvet cave
474:
323:
306:Luca Pacioli
280:
261:
237:graphic arts
224:
216:
214:
192:Smarthistory
176:Khan Academy
138:
123:
114:
104:
97:
90:
83:
71:
59:Please help
54:verification
51:
5431:G. H. Hardy
5234:Renaissance
5204:Polykleitos
5142:Tony Robbin
5053:John Ernest
5048:Jan Dibbets
4998:Crucifixion
4821:Renaissance
4675:Mathematics
4648:Celtic knot
4611:Fractal art
4513:Proportion
4487:Perspective
4392:Stop motion
4367:Introvision
4347:Compositing
4337:Bullet time
4319:Stop motion
4307:Slow motion
4302:Fast motion
4247:Lens flares
4222:Bullet time
4195:Sugar glass
4185:Rubber mask
4119:wire-flying
4025:Master shot
3879:Dutch angle
3789:Perspective
3459:Cartography
3397:Ade Olufeko
3367:Manuel Lima
3296:Kwan-Liu Ma
3221:Stuart Card
3191:Borden Dent
3129:Erwin Raisz
3084:Henry Gantt
2488:. Springer.
2431:25 December
2237:. pp.
1832:WebExhibits
1780:122, note 1
1755:27 December
1583:27 December
1300:other cheek
1295:Last Supper
1088:Limitations
997: 1435
941: 1427
918: 1427
905: 1423
867: 1480
813: 1423
792:Renaissance
664:illusionism
638:composition
251:scene in a
217:perspective
5640:Categories
5405:Owen Jones
5252:De pictura
5157:Oliver Sin
5107:Andy Lomas
4956:Relativity
4687:String art
4601:Fiber arts
4482:Paraboloid
4342:Chroma key
4297:Time-lapse
4262:Filtration
4227:Dolly zoom
4155:Kitbashing
3961:Dolly zoom
3859:Crane shot
3854:Bird's-eye
3849:High-angle
3737:Field size
3712:Film score
3654:Lens flare
3624:Background
3382:John Maeda
3160:John Tukey
3124:Harry Beck
3119:Fritz Kahn
2869:Photograph
2184:1243556932
2064:15 October
1837:15 October
1720:Medium.com
1694:Arch Daily
1324:References
1260:Zograscope
1146:newspapers
1038:De pictura
988:De pictura
978:Toscanelli
943:), and in
829:Florentine
823:conducted
800:Detail of
694:Alcibiades
686:Democritus
682:Anaxagoras
619:Lorenzetti
579:Boscoreale
227:perspicere
219:(from
87:newspapers
5216:Vitruvius
5190:Theorists
4970:Waterfall
4875:19th–20th
4803:Taj Mahal
4783:Parthenon
4760:Buildings
4714:Continuum
4682:Sculpture
4658:Interlace
4452:Algorithm
4362:Go motion
4287:Slit-scan
4209:In-camera
4108:Practical
4040:Long take
3946:SnorriCam
3941:Steadicam
3921:Hand-held
3869:Low-angle
3707:Narration
3669:Rembrandt
3464:Chartjunk
3432:Bang Wong
3327:Polo Chau
3033:John Snow
3008:John Venn
2889:Schematic
2874:Pictogram
2634:151589160
2529:cite book
2499:MIT Press
2407:195006163
2282:701493612
1932:Vasari's
1502:4 October
1473:17 August
1405:ArtBabble
1279:achieved.
1116:talk page
874:Donatello
668:Aristotle
117:July 2022
5624:Category
5351:Romantic
5029:Max Bill
4963:Reptiles
4778:Pantheon
4735:Octacube
4701:Artworks
4643:Knotting
4631:Muqarnas
4529:Symmetry
4457:Catenary
4445:Concepts
4175:Puppetry
4045:One-shot
3931:Tracking
3914:Whip pan
3864:Jib shot
3769:Two shot
3759:Close-up
3749:American
3729:Shooting
3697:Diegetic
3644:High-key
3616:Lighting
3450:Related
2859:Ideogram
2644:(1568).
2482:(2007).
2425:Archived
2339:Archived
2298:(2003).
2103:11836604
1993:Vasari,
1817:, p. 132
1637:(2013).
1375:Archived
1224:See also
1055:'s 1509
878:Masaccio
719:frescoes
642:hieratic
312:Overview
294:Masaccio
268:parallel
5583:Related
5197:Ancient
4931:Man Ray
4877:Century
4813:Artists
4670:Origami
4584:Pyramid
4462:Fractal
4351:digital
4349: (
4217:Bipacks
4164:hanging
4162: (
4117: (
4004:Zooming
3992:Shallow
3982:Racking
3909:Panning
3904:Tilting
3807:Reverse
3764:Italian
3659:Low-key
3332:Ben Fry
2844:Diagram
2604:Bibcode
2570:Nuncius
2445:Sources
2399:3619717
2081:Nuncius
1160:scholar
1040:in his
1005:Alhazen
971:Trinity
742:Ukiyo-e
734:Willats
721:of the
704:in his
673:Poetics
583:Pompeii
517:History
270:to the
245:the eye
101:scholar
5398:Modern
5034:Martin
4897:Newton
4692:Tiling
4636:Zellij
4606:4D art
4329:Visual
4050:Insert
4030:B-roll
3956:Follow
3844:Aerial
3817:Single
3754:Medium
3452:topics
2923:People
2830:Image
2724:Fields
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1645:
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1446:
1415:12 May
1381:12 May
1347:2 June
1313:vertex
1200:, 1753
1162:
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984:wrote
955:Loreto
892:, and
833:Vasari
707:Optics
702:Euclid
553:Fresco
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5209:Canon
4665:Music
4621:Girih
4557:Forms
4522:Human
3977:Focus
3936:Dolly
3926:Shaky
3812:Trunk
3801:(POV)
3689:Sound
3674:Stage
3639:Flood
3629:Cameo
2904:Table
2839:Chart
2832:types
2630:S2CID
2403:S2CID
2395:JSTOR
2241:–30.
2097:INIST
1266:Notes
1255:Uki-e
1167:JSTOR
1153:books
959:Forlì
581:near
257:paper
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221:Latin
108:JSTOR
94:books
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3997:Deep
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2879:Plot
2620:ISBN
2535:link
2459:ISBN
2433:2006
2347:2015
2310:ISBN
2278:OCLC
2268:ISBN
2243:ISBN
2206:him.
2180:OCLC
2170:ISBN
2145:ISBN
2066:2020
2037:ISBN
2013:ISBN
1981:2020
1858:ISBN
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1784:ISBN
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1643:ISBN
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1573:CUNY
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1475:2019
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684:and
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