Perspective - ACE354.4

Optical aids employed by artists over the centuries: a grid of threads, a camera obscura, etc. Canaletto’s Venice: The Upper Reaches of the Grand Canal with S. Simeone Piccolo (Il canal Grande con la chiesa di San Simeone Piccolo, c.1738). Joshua Reynolds’s camera obscura disguised as a book. Johnson spraying his library painting. His VO talking about the illusion created by perspective. Details of the painting. The ceiling of St Ignazio’s church, Rome, on which Andrea Pozzo painted an illusory dome and other architectural features, all designed to be viewed from one sport (Apotheosis of St Ignatius / Altare di Sant'Ignazio, 1685). Cubists rejected the idea of the fixed viewpoint in 1906. Words of Georges Braque over; his painting Pedestal Table (1913). Florence. Metaphysical painter Giorgio de Chirico’s Turin Spring (Torino a Primavera, 1914) and Apparition of the Chimney (1917); de Chirico used distorted perspective to subvert order and stability. Patrick Hughes taking photographs in Florence. His VO on the irony of de Chirico working in the city where perspective was invented. Hughes in his studio; he explains the "incoherence" of de Chirico’s perspectives in Mystery and Melancholy of a Street (Mistero e malinconia d’una strada, 1914) and Sun Rising Over the Square (1971), part of which he copies into his new work. Time-lapse sequence of him painting. Hughes explaining the difference between the viewpoint in traditional perspective and the many viewpoints needed to look at his work.