The Role of Perspective in Two Renaissance Artworks and How it Contributes to The Effects and Meanings of the work of Art
The use of perspective by artists is used to represent the three-dimensional aspects of an object together with a two-dimensional surface (on a piece of canvas or even paper) in a manner that tends to show the vivid characteristics of reality and nature. As such, the use of perspective on a flat surface can tend to create an illusion depicting space and depth. With this in mind, we can be able to try and comprehend the strengths and usefulness of perspective in artworks. In line with this, therefore, it is crucial to mention that perspective tends to commonly refer to a “linear perspective.” By linear perspective, we tend to mean the optical illusion whereby there is the use of vanishing points together with converging lines that make objects appear rather small the farther away they are placed from the viewer. In a nutshell, it is one crafty use of mathematics and geometry to achieve a rather iconic masterpiece.[1] Secondly, we have the atmospheric and aerial perspective whereby things that are in the distance tend to have a lighter value together with a cooler hue when compared to things or objects that are in the foreground.[2] Finally, we have foreshortening which is regarded as another perspective that tends to make something recede into the distance through the way of shortening or compressing the length of the object in question.[3] The appearance of the use of perspective in artworks was during the Renaissance in Italy during the early 1400s. It was during this time that its rules and principles were put to the test. Prior to this, the paintings that were being produced were more symbolic and stylized and lacked the realistic representations of life that perspective was able to breathe into them. In a layman’s language, we can say that perspective brought art to life and made a huge turnaround in the way people perceive and relate to art. For example, the size of an individual in a painting can show their status and level of importance when compared to other figures in the artwork. Additionally, the presence of certain colors can reveal the meaning together with their significance beyond their main property (hue). In this paper, therefore, we will analyze two renaissance artworks that will be able to help us bring out the role of perspective. Through this, we will be able to know how perspective contributes to the effects together with the meanings of the works of art.
The first artwork is the painting by Leonardo da Vinci which is the “Last Supper.” The manner in which the painting has been done was in a way such that Leonardo created some sort of an effect whereby the room in which the apostles together with Jesus Christ were seated was somewhat of an extension of the refectory. In this aspect, the extension makes sense as the theme of the painting (Last Supper) is actually eating. In the extended refectory, the room consists of three windows whereby we can see a beautiful landscape setting whereby there is a kind of a grayish and misty horizon. In this horizon, whereby there is a more dull and colorless casting of colors, it is referred to as an aerial perspective. This particular perspective was used to create and show the illusion of depth in landscape scenes. Through this, the aspect of flatness will be extinguished and the viewer’s eyes can be drawn from the foreground and onto the subject in the distance.[4]
When drawing the painting, the important aspect was not only the event that was taking place but also the people in the painting. For example, there were a select number of apostles represented in the painting just as there was the central position of Jesus Christ. According to history, having a central position tends to portray the aspect of importance and in this case, Jesus Christ was placed at the center so as to show his level of importance. This aspect of perspective is referred to as the linear perspective. Mathematically, all the lines drawn converge to the right eye of Jesus Christ which tends to draw the viewer to focus on this particular place where according to linear perspective rules and principles, it is referred to as the vanishing point. To prove this aspect, it is evident that the orthogonal can be seen through the use of the wall tapestries or the coffers and remapping their pathway up to where they intersect with Jesus. Apart from the linear perspective showing a center of the composition with regards to Christ, it also reveals the center of Christ with regards to psychology. This aspect is portrayed in the painting through the commotion that is witnessed when Christ says that one of them is going to betray him. This psychological aspect is crucial as it is the only place where this commotion has been witnessed in all of the paintings of the Last Supper that have been painted over the years. Therefore, this gives meaning to painting by Leonardo da Vinci as a truly original masterpiece when it comes to detail on the events that took place during this last supper.
The second painting that we are going to focus on is the Kiss of Judas (1304-06) by Giotto who was an Italian artist.[5] Looking at the painting, it speaks for itself as does the previous painting of the “Last Supper.” Beginning with the arrangement of the people in the frame, it tends to give a three-dimensional space. Firstly, there is the person being pulled on the left, which shows that there is another world ready to be explored outside of the border that we are able to see. In addition to this, there is the use of half people in the painting. This tends to depict the same thing as there are no half-humans in reality. As such, the artwork gains meaning by proving that during the Renaissance artists were motivated to think beyond their scope. This was practically true as the purpose of the period was to do away with the old and to conquer and rebuild into a new and prospering entity capable of coming up with new ideas and new plans for the future. Secondly, there are layers of people that are being blocked by other people. In a normal and stylistic case, the frame or space would have been tilted so that everyone can be seen from somewhat above, but because we want to present a form of reality aspect into the picture, the perspective creativity was necessary. In addition to this, the titling of the frame or space would not have portrayed the characters in the frame in the light that they were supposed to be seen by the audience. This is to mean that there would be no show of the kiss by Judas in a clear light and thus showing its importance as the center of focus for the viewer.
Thirdly, as with the painting of the Last Supper, there is the use of a linear perspective whereby the central image is the kissing of Jesus by Judas. This sets the stage for a viewer to focus on what is actually happening in the painting and that is the actual betrayal of Jesus through a kiss. Apart from this, there is evidence of the yellow clothing that has been worn by Judas. According to art, the use of yellow is a show of cowardice and according to the scriptures, it is evident that Judas was a coward through the actions that he took until the final betrayal of Jesus. To add to this, there was the use of aerial perspective. This was evidenced by the nature of the distant sky that was rather dull and dark. To top it all up, there was the use of burning torches by the apostles which depicted that the place was rather dark. Finally, there is the depiction of a space filled with emotion and pain surrounded by chaos and violence. The space in question is the moment where Judas kisses Christ when the soldiers ask him to point Jesus out from the crowd. In this confrontation, the cloak that Judas is wearing tends to make a barrier between Christ and Judas revealing the adamant truth that Judas truly is a coward.
In conclusion, the use of perspective is creativity at its finest as it enables works of art to turn out to be masterpieces never to be forgotten for many years to come once they are produced. As evidenced from above, the paintings were made during the renaissance period which is many years ago, close to 700 years. In this time, a number of paintings have been produced, but due to nature and profound meaning portrayed by some of the paintings done during this period, a couple of them have managed to remain significant and utterly priceless, to say the least. This nature of success with the use of perspective is rather significant and through its immense usage, we have been able to maintain culture and heritage to be passed on from one generation to another.
Bibliography
Edgerton, Samuel Y. The mirror, the window, and the telescope: How Renaissance linear perspective changed our vision of the universe. Cornell University Press, 2009.
Kennedy, John M., and Igor Juricevic. “Foreshortening, convergence and drawings from a blind adult.” Perception 35, no. 6 (2006): 847-851.
King, Ross. Leonardo and the Last Supper. Bloomsbury Publishing, 2013.
Teibel, Daniel A., and Chiung-Chen Yu. “Method of providing aerial perspective in a graphical user interface.” U.S. Patent 6,353,451, issued March 5, 2002.
Zucker, Mark J. “Figure and Frame in the Paintings of Giotto.” Source: Notes in the History of Art 1, no. 4 (1982): 1-5.
[1] Edgerton, Samuel Y. The mirror, the window, and the telescope: How Renaissance linear perspective changed our vision of the universe. Cornell University Press, 2009.
[2] Teibel, Daniel A., and Chiung-Chen Yu. “Method of providing aerial perspective in a graphical user interface.” U.S. Patent 6,353,451, issued March 5, 2002.
[3] Kennedy, John M., and Igor Juricevic. “Foreshortening, convergence and drawings from a blind adult.” Perception 35, no. 6 (2006): 847-851.
[4] King, Ross. Leonardo and the Last Supper. Bloomsbury Publishing, 2013.
[5] Zucker, Mark J. “Figure and Frame in the Paintings of Giotto.” Source: Notes in the History of Art 1, no. 4 (1982): 1-5.