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Surface and Depth. by Art Institute of Chicago. What makes paintings feel as deep as the view from a window or as flat as a wall? This video is part of the Art Institute of Chicago’s Art Explainer series. Using three artworks from the Art Institute’s collection, this video unpacks a central theme and uses innovative visual storytelling to ...
- Light and Shadow
This video is part of the Art Institute of Chicago’s Art...
- Light and Shadow
27 Ιουλ 2015 · According to an influential view within art history, the way the ancient Greeks saw the world was importantly different from the way we now see the world, and part of what art history should study is exactly how human vision has changed in the course of history.
14 Ιουν 2010 · From Ernst Mach’s images of bullets in flight and the shock waves they create, to Eadweard Muybridge’s pictures of equine movements that happen too quickly for the eye to detect, to A. M. Worthington’s study of imperceptible events in hydrodynamics, to the efforts of Demenÿ’s master Marey to register non-visible displacements in human ...
Colour and value can also be used to help represent the illusion of depth, with objects that are depicted as being closer to the picture plane being more brightly coloured and featuring greater value contrast than those depicted as being further from the picture plane.
18 Ιουν 2014 · Paul Cezanne's statement about his contemporary, Claude Monet, along the lines of ‘Monet is only an eye, but what an eye!’ led American ophthalmologists, Michael Marmor and James Ravin, to write The Artist's Eyes, in which they look at the role of vision, in particular vision impairment, in art.
27 Ιαν 2023 · Atmospheric perspective, also referred to as aerial perspective in art, refers to the techniques that artists employ to replicate the effects of distance on the human eye’s ability to distinguish color, form, and detail.
Problematising pictorial space as a construct of art historical literature, it proposes place as an alternative approach to architectural settings, reflecting on the different guises of perspective as an abstract science and as a practical tool for artists.
