StefanArteni PerspectiveAsFormAndMedium1

STEFAN ARTENI
Perspective as Form and Medium and the Interplay of Proportion Systems and Perspective I
SolInvictus Press 2006
The Mark
We think of the "operator" as "doing something" and of the "operands" as things to which something is "done." But the heretofore distinct mathematical concepts of operator and operand are in fact merely different facets of a single fundamental action, the drawing of a distinction. Expressed in the terminology of set theory, a set is of a logically higher type than are its elements; similarly this holds for the relationship between an operator and an operand. The formal description ofa process, in which the system should both reflect the complete situation and alter its own algorithm, a system which learns how it learns, requires an interchange of operator and operand, i.e. what from one viewpoint was an operator becomes an operand during the process of reflection and vice versa. DEAD AND LIVING SYSTEMS Their Relation to Formal Logical Descriptions, E. von Goldammer , J. Paul and C. Kennedy, Institut fr Kybernetik & Systemtheorie - ICS Harpener Hellweg 532, D-44388 Dortmund Fakultt fr Informatik, TU Dresden
The mark is both operator and operand at the same time, a self-referential operator which works upon itself and becomes part of itself, an operator (the mark) which becomes an operand (the mark).
it does make sense to define the two types of recognition because both psychological and biological studies reveal the initial step of human vision to be a position-independent parallel process that recognizes elementary features such as color, texture, orientation, and size... This fast process precedes a slower position-dependent object-recognition process which requires the elementary features making up a perceptual object to be combined. The fast parallel process is called preattentive, because it does not require spatial attentional selection (i.e., it is spatially independent), the slow process is referred to as attentive because it does require spatial attentional selection One relatively novel way of assessing the texture of an image is by measuring the fractal dimension of an image. The use of concepts from chaos theory is now widespread in image processing... In preattentive image recognition, the concept of fractal dimension can be applied in, for instance, segmentation tasks ... Fractal dimension is a measure of the self-similarity of (a part of) an image across a range of scales... Discovering the visual signature of painters1 H.Jaap van den Herik and Eric O. Postma IKAT / Computer Science Department Universiteit Maastricht, The Netherlands
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Giorgio Morandi
Giorgio Morandi
Giorgio Morandi
Giorgio Morandi
Giorgio Morandi
Giorgio Morandi
Jean-Baptiste-Camille Corot
Piero Marussig
Raoul Dufy
Roman mosaic
Roman wall paintings
Paolo Caliari Veronese
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Jacopo Bassano (Giacomo dal Ponte)
Jacopo Bassano (Giacomo dal Ponte)
Raoul Dufy
Raoul Dufy
Jacques Villon
Nicolas de Stal
Amedeo Modigliani
Amedeo Modigliani
Lorenzo Monaco
Lorenzo Monaco
Byzantine Icon
Spanish Romanesque wall painting
Spanish Romanesque wall painting
Sucevita, Byzantine wall painting
Probota, Byzantine wall painting
Cetatuia Monastery, Moldavian Byzantine wall painting: Duca, prince of Moldavia and hetman of Ukraine
Greme Museum, Basil Chapel, Cappadocia (Photo Dick Osseman)
Greme Museum, Yilanli or Snake Church, Cappadocia (Photo Dick Osseman)
Pskov, wall painting
Romanesque wall painting
Greme Museum, Karanlik Church, Cappadocia (Photo Dick Osseman)
Theodor Pallady
SELF-REFERENCE OF FORM
Forms convince by implicit self-reference. They propose themselves. Theyresist further decompositionIn this sense they have a ritualistic quality Ambiguity of forms comes about, if the problem of form is reconstructed as a problem of the relation between form and contextHowever ambivalent, the paradox of form is the paradox of organizing context by self-reference. Niklas Luhmann
Anonymous Romanesque master
Anonymous Romanesque master
Altarpiece of San Cristobal
Arnau Bassa
Psalter of Saint Louis
Anonymous Gothic master
Lorenzo Veneziano
Giovanni di Francesco
Workshop of Marco del Buono Giamberti, Appolonio di Giovanni
Master of Panels of the Argonauts
Filippo Lippi
Filippino Lippi
Jaime Huguet
Luca d'Egidio di Ventura (Luca Signorelli)
Jacopo Negretti (Palma il Vecchio)
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tintoretto (Jacopo Robusti)
Anonymous Venetian master
Rosso Fiorentino (Giovanni Battista di Jacopo di Rossi)
Rosso Fiorentino (Giovanni Battista di Jacopo di Rossi)
El Greco (Domenikos Theotokopoulos)
El Greco (Domenikos Theotokopoulos)
Annibale Carracci
Nicolas Poussin
Peter Paul Rubens
Peter Paul Rubens
Peter Paul Rubens
Andr Derain
Edgar Degas
Georges Rouault
Georges Rouault
Paul Klee
The Play Of Form
Aya Sofya mosaic
Sveta Gora Byzantine wall painting
Ohrid Byzantine wall painting
Studenitza Byzantine wall painting
Decani Byzantine wall painting
Giovanni di Paolo
Paolo Veneziano
Henri Matisse
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Fausto Pirandello
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Raoul Dufy
Peter Paul Rubens
Peter Paul Rubens
Andr Derain
Andr Derain Andr Lhote
Roman wall painting
Andr Derain, two figures from La Grande Bacchanale Noire
Anonymous Milanese master Domenico Ghirlandaio
Vittore Carpaccio
Raffaello Sanzio
Attributed to Raffaello Sanzio
Raffaello Sanzio
Domenico Ghirlandaio
Pinturicchio (Bernardino di Betto)
Lorenzo di Credi
Bartolomeo Veneto
Bartolomeo Veneto
Bartolomeo Veneto
Bartolomeo Veneto
Bartolomeo Veneto
Piero di Cosimo (Piero di Lorenzo)
Michele Tosini Pontormo (Jacopo Carucci)
Pontormo (Jacopo Carucci)
Agnolo di Cosimo di Mariano Tori (Bronzino)
Jean-Auguste-Dominique Ingres
Roman funerary portrait
Andr Derain
Arturo Martini
Arturo Martini
Willem Kalf
Willem Kalf
Andr Derain
Andr Derain
Andr Derain
Andr Derain
Peter Paul Rubens
Andr Derain
Andr Derain
Raoul Dufy
Raoul Dufy
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Pierre Bonnard
Andr Derain
Massimo Campigli
Bruno Saetti
Bruno Saetti
Georges Braque
Georges Braque
Georges Braque
Juan Gris (Jose Victoriano Gonzalez)
Gino Severini
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Barisano da Trani
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Projection Systems
Systems used to depict recession in space [from www.uic.edu]
Bayeux tapestry, overlapping
Byzantine mosaic, overlapping
Ottonian miniature, diagonal perspective and overlapping
El Greco (Domenikos Theotokopoulos), overlapping, vertical and diagonal perspective
El Greco (Domenikos Theotokopoulos), overlapping and diminution
Persian miniature, vertical perspective
Byzantine miniatures, diagonal perspective and overlapping
The most common paraline or parallel projections (diagrams by Bruce MacEvoy)
Egyptian wall painting
Egyptian wall paintings
Beatus de Liebana, Commentary on the Revelation of St.John, about 945
Byzantine illumination
Gothic illumination
Persian miniature
Persian miniature
Persian miniature
Villard de Honnecourt
Anonymous Japanese master Russian Icon
Russian Icon
Fresco, Christ Healing the Possessed, 1080, Lambach Abbey Church, Upper Austria
Fresco, The Magi, around 1431, Church of St. Peter am Kammersberg, Styria
Ohrid Icon, mixed perspective system (parallel projection and reverse perspective: diverging oblique edges may give an effect of reverse perspective)
The Modern Era
Gino Severini
The Modern Era
Gris uses a mixed system of projections [diagrams by Fred Dubery and John Willats]
Byzantine illumination
Reverse perspective, also called inverse perspective or Byzantine perspective, is a technique of perspective drawing where the lines diverge against the horizon, rather than converge. Technically, the vanishing points are placed outside the painting with the illusion that they are "in front of" the painting. A common interpretation is that the point of perspective is on the viewer, hence The Almighty looks upon him, rather than the viewer looks upon The Almighty. It displays the spiritual rather than the physical reality.
Russian Icon
The Modern Era
Juan Gris (Jose Victoriano Gonzalez) and the use of reverse perspective
Perspective effects
Pompeiian mural of the pageant of Orestes, 2nd century AD, inspired by theatrical scenery (scaenographia) containing both central convergence (black lines) and fishbone parallel convergence for the peripheral features such as the roof rafters (white lines) [diagram by Christopher W. Tyler]
3D simulation of Roman wall painting [University of Warwick's e-lab]
Perspective effects
Perspective effects
Perspective effects
Roman wall painting
Perspective effects
Perspective effects
Roman mosaic (reverse perspective)
Multiple systems used in the same altarpiece [1]

Ugolino da Siena 41,4 x 58,1 cm From the predella of an altarpiece for the Basilica Santa Croce, Florence, 1325/26 overlapping
Ugolino da Siena 40,4 x 58,8 cm From the predella of an altarpiece for the Basilica Santa Croce, Florence, 1325/26 reverse perspective
Multiple systems used in the same altarpiece [2]
Ugolino da Siena 40,1 x 58 cm From the predella of an altarpiece for the Basilica Santa Croce, Florence, 1325/26 [perspective diagram by Stefan Arteni]
Duccio di Buoninsegna
Duccio di Buoninsegna
[perspective diagram by M.X. Benedict]
Giovanni di Paolo di Grazia Dieric Bouts
Giotto (Ambrogio Bondone) [diagram by Christopher W. Tyler]
Leon Battista Alberti
renaissance method for constructing central perspective

from the instructions in Alberti's De pictura (1435)
[diagram by Bruce MacEvoy]
the perspective gradient
[diagram by Bruce MacEvoy]
Franz Fischnaller's reconstruction of the relationship between the real architecture of the refectory and the painted architecture in Leonardo da Vincis Last Supper, www.fabricat.com/ultim_cen.html [From the online book Psychology of Perspective and Renaissance Art (WebExhibits) by Michael Kubovy and Christopher Tyler]
Leonardo da Vincis perspective diagram for the Adoration of the Magi
Leonardo da Vinci, Adoration of the Magi
Fra Angelico (Guido di Pietro da Mugello)
Fra Angelico (Guido di Pietro da Mugello), diagram by Stefan Arteni
Rafaello Sanzio [perspective diagram by Christopher W. Tyler]
Raffaello Sanzio: superimposed perspective and proportion schemata [Michael Holzapfel]
progressions can be used to generate perspective grids. In the accompanying drawings on the geometric and harmonic progressions, we can see how a linear perspective grid system can be developed from either approach. The geometric progression used in Figure 1 is 1, 1/2, 1/4, 1/8,
[From Mark Reynolds, Geometric and Harmonic Means and Progressions, Nexus Network Journal, vol. 3, no. 4 (Autumn 2001), http://www.nexusjournal.com/GA-v3n4.htm]
"One-point" (parallel) perspective grid using harmonic and geometric progressions.
The harmonic progression used in Figure 2 is 1, 1/2, 1/3, 1/4, 1/5,.
"Two-point" (angular) perspective grid using geometric and harmonic progressions.
This paper focuses on an aspect of perspective that we cannot experience directly, a division of space that is independent of our perspective or point of view. Mathematicians call this division the cross ratio. As presented in this paper, the cross ratio is a ratio of ratios: May be computed using collinear segments May be computed using concurrent angles Is independent of the position of the observer Is invariant under projective transformations Is the basis for the paper strip technique used by cartographers Is an important mathematical basis for 3-D computer graphics
[from David A.Thomas The Mathematics of perspective: An Introduction to the Cross Ratio ON-Math Winter 2003/Volume 2, Number 2]
Andrea Mantegna felt that he needed to compensate for the distortion introduced by linear perspective, since he both reduced the size of the feet and enlarged the head. . Creatively "adjusting" perspective distortion has been one of the subtleties of painting. .
Marginal Distortions [from Michael Kubovy and Christopher Tyler, webexhibits.org/arrowintheeye/ marginal3.html]
The Game of Magnitude (Perspective of Importance)
Size of figures related to their respective importance
Palermo, Sicily: mosaic from the Capella Palatina
Rome: mosaic from the Basilica of Santa Maria Maggiore
Mosaics, Monastery of Hosios Lukas
Russian Icon
Bicci di Lorenzo
Gentile da Fabriano (Gentile di Niccol di Giovanni Massi)
Proportion Systems
Leon Battista Albertis musical ratios which could be traced back to Pythagoras [graphic interpretation by Michel Gardes]
Leon Battista Albertis musical consonances or ratios [graphic interpretation by Angela Pintore]
Square area [Area quadrataLa pi corta di tutte l'area quadrata, i cui lati sono tutti eguali tra loro in lunghezza, e i cui angoli sono tutti egualmente retti.]
Sesquialtera [Area sesquialteraA questa segue immediatamente l'area detta sesquialtera ('una e mezza')...]
Sesquitertia [Area sesquitertia... e dopo questa - sempre tra le aree corte - si annovera quella sesquitertia ('una e un terzo').]
Angela Pintore, http://www.nexusjournal.com/Pintore06.html
Double [DoppiaPure tre si attagliano alle aree medie. La migliore delle quali quella doppia...]
Sesquialtera doubled [... ad essa fa seguito un'area che si ottiene raddoppiando la sesquialtera, e si costruisce nel modo seguente. Una volta tracciata la dimensione minore dell'area, ad esempio lunga quattro, si costruisce una prima sesquialtera, di lunghezza sei; a questa si aggiunge un'altra area lunga met della precedente, sicch la lunghezza complessiva risulter di nove. Quindi la dimensione maggiore, in questo tipo d'area, superer la misura pi piccola del doppio pi il tonus del doppio.] Sesquitertia doubled [Area due volte sesquitertiaPure tra le aree medie si annovera quella che si ottiene costruendo due volte la sesquitertia secondo lo stesso sistema test illustrato. Quindi, con questo tipo di costruzione, la dimensione minore dell'area sta alla maggiore come nove sta a sedici; per conseguenza quest'ultima viene superata dal doppio dell'altra per meno di un tonus.]
Triple [TriplaNella costruzione delle aree lunghe ci si regola come segue. O si unisce una doppia a una sesquialtera, ottenendo una tripla...]
Double plus sesquitertia [Area doppia pi sesquitertia ... ovvero una doppia a una sesquitertia, e allora le dimensioni saranno proporzionali a tre e otto...]
Quadruple [Area quadrupla ... o ancora si costruisce l'area in maniera che una dimensione riesca quadrupla dell'altra.] Angela Pintore, http://www.nexusjournal.com/Pintore06.html
Leon Battista Albertis musical consonances or ratios [graphic interpretation by John Boyd-Brent, with Boyd-Brents spelling, www.aboutscotland.com/harmony/ prop2.html]
Massacios use of musical ratios [diagram by Charles Bouleau]
Botticellis use of the double diatessaron, 9/12/16 [diagrams by Charles Bouleau]
Raffaello Sanzio: composition on the musical ratio coinciding with

perspective construct [diagram by Charles Bouleau]
A Unified Theory of Proportion Jay Kappraff and Gary W. Adamson www.mi.sanu.ac.yu/vismath/kappraff1 With the aid of Pascals triangle, the golden mean and Fibonacci sequences were generalized to a family of silver means. The Lucas sequence was then generalized with the aid of a close variant of the Pascals triangle. These generalized golden means and generalized F- and L-sequences were shown to form a tightly knit family with many properties of number. Perhaps it is for this reason that they occur in many dynamical systems. The numerical properties of the silver mean constants are the result of their self-referential properties which, in turn, derive from their relationship to the imaginary number i. We have shown that all systems of proportion are related to a set of polynomials derived from Pascals triangle. These systems are related to both the edges of various species of regular star polygon and the diagonals of regular n-gons, and they share many of the additive properties of the golden mean. designs of ancient sacred geometry use a small vocabulary of proportions such as 2, 3, the golden mean = (1+5)/2 and the silver mean = 1 + 2.
The n-gons for n = 3,4,5,6,7,8,10,12 with edge equal to 1 unit showing their diagonals.
Jay Hambidge and dynamic symmetry
The root-2 Rectangle and Golden Rectangle compared.
The dynamic rectangles are the root-2, the root-3, the root-4, and the root-5.
[Diagrams by Thomas Detrie]
[Diagram by Charles Bouleau]
The Golden Ratio, diagrams by Michel Gardes
Leonardo da Vinci and the Golden Triangle
Hypothetical Golden Ratio diagram of Botticellis painting
Rogier de la Pasture van der Weyden
Rogier de la Pasture van der Weyden, a subtle composition based on pentagons and the golden number [diagram by Charles Bouleau]
Rogier de la Pasture van der Weyden [detailed diagrams by Charles Bouleau]
Tintorettos dynamic composition based on the Golden Section [diagram by Andr Lhote]
Armature of the surface [diagrams by Charles Bouleau]
On the left of the image above, the vertical division of the half rectangle into two, on the right into three
Peter Paul Rubens, construction based on the armature of the frame [diagram by Charles Bouleau]
Botticellis tondo
Botticellis tondo, the composition establishes the architecture and perspective [diagram by Charles Bouleau]
Geometry of the Root 3 System
Jay Kappraff
www.mi.sanu.ac.yu/vismath/kappraff/kap7.htm
An hexagonal grid illustrating the root 3 system.
Perhaps the most fundamental place that the 3 makes its appearance is in a figure referred to in sacred geometry as the Vesica Pisces. Draw a circle. Place a point on the circumference and draw a second circle of the same radius as the first.
Medieval miniature
Raffaello Sanzio
Raffaello Sanzio,
composition on the circles [diagram by Charles Bouleau]
Diagram of Raffaello Sanzios painting by Gino Severini
Rabatment of the shorter sides [diagrams by Chales Bouleau]
Raffaello Sanzio
Raffaello Sanzio
Raffaello Sanzio, rabatment of the shorter sides [diagram by Chales Bouleau]
The algebraic properties of the Roman system can be made palpable by considering the equivalent geometric properties based on the interrelation of the proportions: 1, 2, and .
THE ROMAN SYSTEM OF PROPORTIONS Jay Kappraff, "The Arithmetic of Nicomachus of Gerasa and its Applications to Systems of Proportion", Nexus Network Journal, vol. 2, no. 4 (October 2000), http://www.nexusjournal.com/Kappraff.html
The system of proportions based on x = where = 1 + 2 is of particular interest. An integer version of this system was used in ancient Roman architecture and was written about by Theon of Smyrna, a second century A.D. mathematician and Platonist philosopher All the tones of the Pythagorean scale are based on the ratio of string lengths in which the numerator and denominator are divisible by primes 2 and 3, e.g., the musical fifth, fourth, and octave: 2/3, , and . The SR rectangle [square root of two rectangle] is particularly suited for creating the musical proportions of the Pythagorean scale, since it has a natural bisecting and trisecting property.
The dynamic symmetry proportional system is found in some Byzantine and Russian icons of the fourteenth to sixteenth centuries
Diagrams by Karyl M. Knee http://web.ukonline.co.uk/pbrooke/a&r/knee
"Root" rectangles obtained from inside a square [diagram by Karyl M. Knee, http://web.ukonline.co.uk/pbrooke/a&r/knee]
Russian Icon - root three rectangle [diagrams by Karyl M. Knee, http://web.ukonline.co.uk/pbrooke/a&r/knee]
The dynamic symmetry proportional system is found in some Byzantine and Russian icons of the fourteenth to sixteenth centuries In the analysis of the icon, Baptism of Christ, dating from the end of the fourteenth century, at the Greek Patriarchate, Jerusalem, there are two vertical "root-eight" rectangles which form its design composition. It can be seen that the central figure of Christ is in the "root-three" rectangle portion vertically and that the mountain tops are contained in the four upper dynamic symmetry sections of "rootfive" through ''root-eight" rectangles. The central Heavenly Ray comes down the center of the composition. The diagonal line of the right leg of St. John the Baptist falls along a design line beginning at the lower center of the compositionAt the lower level, the River Jordan's edges fall within the triangle shape from the lower corners of the icon to the center at about Christ's hip. [diagrams and commentary by Karyl M. Knee, http://web.ukonline.co.uk/pbrooke/a&r/ knee]
In the icon, Simeon Stylites, sixteenth century, Early Stroganov School, Moscow, in the Tretyakov Gallery, the analysis shows that it is constructed within two "rootfive" vertical rectangles. The design is typical of Palaeologian art. [diagrams by Karyl M. Knee, http://web.ukonline. co.uk/pbrooke/a&r/knee]
THE PERSPECTIVE GRID WITHIN THE GOLDEN SECTION RECTANGLE
THE PERSPECTIVE GRID WITHIN THE SQUARE ROOT OF PHI RECTANGLE
= 1.272...
Diagrams from Mark A. Reynolds, "Perspectiva Geometrica", Nexus Network Journal, vol. 5 no. 1(Spring 2003), http://www.nexusjournal.com/GA-v5n1.html
Jan Vermeer. Perspective inserted within proportion construct [golden section diagram by Charles Bouleau; perspective diagram, in yellow, by Stefan Arteni]
The Modern Era
The Modulor by Le Corbusier [diagram from the site conceived by the students of the Lyce Jean Monnet, Aurillac, France]
Serge Poliakoff [from Carolle Gagnon-Marier, Serge Poliakoff et le Nombre dOr, Vie des Arts, XXV 102, 1981]
The Modern Era
Jacques Villon
The Modern Era
Jacques Villon
Stefan Arteni The Modern Era

[interplay of projection and proportion systems within the rectangle]
The Modern Era
Stefan Arteni
[proportion system within the rectangle]
The Modern Era
Stefan Arteni
[interplay of projection and proportion systems within the rectangle]
Module, Geometry, Human Proportion
The Development of the Egyptian Grid System [John Legon]
Doryphoros, 450 BC. Polykleitos created this statue in order to support his published theoretical work "Canon" = "Rule", in which he was stating in mathematical terms the relationship of parts of the body with the whole, e.g. the proportion of finger with the palm, palm with wrist, wrist with elbow, elbow with arm. The proportion of the head with the body is one seventh (1/7). [Ellen Papakyriakou-Anagnostou]
This athletic weight shift pose is called a Contrapposto, and in the art world scholars have noted what they call the chiastic principle in the composition of the figures such as the Doryphoros [by Polykleitos]. The term is derived from the Greek letter chi X which is formed by two lines crossing obliquely, but the stroke descending right to left is straight while the other is, like a reversed S, curved at both ends. Thus the upper curve on the left corresponds to a mirror-image curve on the lower right and two straight halves face each other across the sinuous divide. The illustration imposes the letter chi onto the figure of the Doryphoros. [Dave Lightbody]
Doryphoros and the Golden Ratio

Dr. Ruben Stelzner, Der goldene Schnitt Das Mysterium der Schnheit, in Zusammenarbeit mit Prof. Dr. Wolfgang Schad, Karl-Schweisfurth-Institut, Universitt Witten/Hedecke und dem Studium Fundamentale der Universitt Witten/Herdecke
Doryphoros [diagram by Gyorgy Doczi]
The Byzantine canon expressed in face units: on the left, a figure of 9; on the right, the Paleologan canon of 9 units Hjalmar Torp, The Integrating System of Proportion in Byzantine Art, Acta Ad Archeaologiam Et Artium Historiam Pertinentia, Volume 4, Giorgio Bretschneider 1984 [Diagram by Hjalmar Torp]
Hjalmar Torp, The Integrating System of Proportion in Byzantine Art, Acta Ad Archeaologiam Et Artium Historiam Pertinentia, Volume 4, Giorgio Bretschneider 1984 [Diagram by Hjalmar Torp]
Hjalmar Torp, The Integrating System of Proportion in Byzantine Art, Acta Ad Archeaologiam Et Artium Historiam Pertinentia, Volume 4, Giorgio Bretschneider 1984 [Diagrams by Hjalmar Torp]
El Greco (Domenikos Theotokopoulos) and the hypothetical use of the Paleologan canon [diagram by Stefan Arteni]
St.Prokulus, Naturns about 800?
St.Prokulus, Naturns oldest paint layer; about 800 ?
Hjalmar Torp, The Integrating System of Proportion in Byzantine Art, Acta Ad Archeaologiam Et Artium Historiam Pertinentia, Volume 4, Giorgio Bretschneider 1984 [Diagrams by Hjalmar Torp]
Salzburg, Nonnberg Convent, detail of wall painting, about 1150
Early Romanesque wall painting, Johanneskapelle, Prgg, about 1160
St.Paul, about 1260
St.Helena am Wieserberg, about 1250
Cividale, Tempietto Longobardo, Hjalmar Torp, The Integrating System of Proportion in Byzantine Art, Acta Ad Archeaologiam Et Artium Historiam Pertinentia, Volume 4, Giorgio Bretschneider 1984 [Diagram by Hjalmar Torp]
Giovanni Rusconi. Ideal Proportions Based on the Human Body, from "Della Architettura", Published 1590
Woodcut by Peter Flotner from 'Vitruvius Teutsch', the first German translation of 'De architectura' (Of architecture) by the Roman architect and engineer Vitruvius Pollio (1st century BC), published in Nuremberg in 1548.
Willem Goeree, Natuurlyk en Schilderkonstig Ontwerp der menschkunde Leerende niet allen de kennis van de gestalte, proportie... [Konsten att terge mnniskans gestalt och dess proportioner]. Amsterdam 1682. The head is one-eighth of the body height.
El Greco (Domenikos Theotokopoulos), Epimetheus and Pandora
Sandro Botticellis workshop
Hans Baldung Grien
Lyssipus, Hercules. Roman copy
Athanasius Kircher, 17th century
The Lyssipian proportion of the head with the body is one eighth (1/8).
Hypothetical use of the Lyssipian canon: El Greco (Domenikos Theotokopoulos) Saint John the Baptist 1597-160. Oil on canvas.105 x 64 cm. Private collection.
Grids [I]
Leonardo da Vinci, proportion grid and other studies
Image transformations: image (a) is distorted by making the four corners (blue dots) move to the new positions marked by the four red circles. [www.xiberpix.com/index.html]
In perspective, anamorphosis perspective is used for distortion
curve envelope distortion: first a drawing is made on an ordinary rectangular grid and then the artist transfers the drawing point by point to the distorted grid.
Dr. Michael Brook [www.math.udel.edu/~mbrook/brookart/brook.html]
Albrecht Drer
[from John Sharp, www.mathsyear2000.org]
Hieronymus Bosch
Greek vase painting, orthogonal projection
Greek vase painting
Horizontal oblique projection

[from Fred Dubery and John Willats, Perspective and Other Drawing Systems,1983]
Computer generated head in strict horizontal oblique projection [from Fred Dubery and John Willats, Perspective and Other Drawing Systems,1983]
Greek vase painting, horizontal oblique projection
Greek vase painting
An attempt to show side and front views of the body at once
Roman mosaics, head extended in an attempt to show side and front views at once
Greek vase painting
Roman mosaics
Byzantine Icon
Byzantine Icon, 11th century, gold cloisonne
Villard de Honnecourt, head extended in an attempt to show side and front views at once
Lucas Cranach, head extended in an attempt to show side and front views at once
Lucas Cranach, head extended in an attempt to show side and front views at once
Gino Severini
The Modern Era

an attempt to show side and front views at once
Georges Braque
Georges Braque
Grids[II]
Tiziano Vecellio, squared up drawing
Pontormo (Jacopo Carucci), squared up drawing
Jacques Villon
Squared up drawing, charcoal on tracing paper
Top right: study attempting to show different views at once. Bottom right: one of the final versions (Composition jaune et bleu or Galop.)
Jacques Villon
Jacques Villon
Distance point D
The perspective cube: the grid can be warped by moving the vanishing point (the method of grid-warp serves to manipulate the image by adjusting the grid)
[John Sharp, www.mathsyear2000.org/explorer/gridwarping/perspective-grids]
Planimetric reconstruction of Piero Della Francescas Flagellation

A.Dabusti - M.Lagomarsini www.istitutomaserati.it/prospettiva/Immagini/francesca1.jpg
Piero Della Francesca
Tintoretto (Jacopo Robusti), diagram by Stefan Arteni
Pieter Hendricksz de Hooch
Pieter Hendricksz de Hooch, diagram by Stefan Arteni
Pieter Hendricksz de Hooch
Pieter Hendricksz de Hooch, diagram by Stefan Arteni
Color Systems
THE MUSICAL INTERVALS AND HARMONIES OF THE SPHERES.
Pythagoras ~550BC
[from www.colorsystem.com]
Roman mosaic
Byzantine mosaic
Byzantine mosaics
Byzantine mosaic
Byzantine mosaic
Byzantine mosaic
Byzantine mosaic
Byzantine mosaic
Byzantine mosaic
Byzantine mosaic
Robert Grosseteste, De colore Color est lux.
Westminster Abbey, wall painting
Leon Battista Alberti
Leonardo da Vinci included black and white next to yellow, red, blue and green as primary colors. [from www.colorsystem.com]
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio Tiziano Vecellio (restored)
Il Guercino (restored)
Perino del Vaga (Pietro Buonaccorsi)
Aron Sigfrid Forsius,1611 [from www.colorsystem.com]
OPTICORUM LIBRI SEX BY FRANCISCUS AGUILONIUS (1567-1617) Aguilonius's system was the first attempt at defining all colors and was based on his observations of the changing color of the sky from dawn to dusk
Secondo Aguilonius la scala cromatica formata da cinque colori semplici (bianco, giallo, rosso, azzurro, nero) e da tre colori composti (arancio, verde, porpora). Il giallo il colore pi vicino al bianco, perch il pi luminoso, per la ragione opposta l'azzurro il pi vicino al nero. L'arancio, il verde e il porpora sono colori composti perch vengono formati dalla mescolanza di due colori: Arancio = Giallo + Rosso Verde = Giallo + Azzurro Porpora = Rosso + Azzurro [According to Aguilonius, the chromatic scale is formed by five simple colors (white, yellow, red, blue, black) and three composite colors (orange, green, purple). Yelow is the color closest to white, because the most luminous, blue is the closest to black for the opposite reason. Orange, green and purple are composite colors because formed by mixing two colors: Orange = Yellow + Red Green = Yellow + Blue Purple = Red + Blue]
http://pctidifi.mi.infn.it/lucevisione/pittura/copernico.htm
1613 - Aguilonius
The color system described in the book of optics by Franciscus Aguilonius (1613) and illustrated by Peter Paul Rubens may be translated into a three dimensional system by means of topological transformation.
http://www.uni-mainz.de/FB/Biologie/Zoologie/abt3/html/body_aguilonius.html
Rubens and color
The use of color dots to form images on television or computer screens is referred to as partitive mixing. Partitive mixing relies on the eyes inability to resolve closely spaced objects. Paintparticles are suspended in a clear medium (e.g. linseed oil). As light passes through that clear medium, it is transmitted selectively by the colour particles. The wavelengths that are reflected back to the eye (i.e., not absorbed) determine the colour seen. Thus, mixing paints of different colour is completely analogous to placing several filters of different colour in a sequence. Brian Thomas Wagner and Donald Kline University of Calgary
franois d'aguilon's [Aguilonius] color mixing theory (1613)
Bruce MacEvoy http://www.handprint.com/HP/WCL/color6.html
P.P. Rubens depicts Hera-Juno at the moment when she already applied some of Argus' eyes on the tail of her birds. Argus lies decapitated at her feet. The woman left of her, holding Argus' head, might be Athena-Minerva.
http://www.ubique.org/Webfans/pfau/Juno.htm http://www.faculty.fairfield.edu/jmac/sj/scientists/aguilon.htm
P.P. Rubens chose the Juno-Argus mythology for a frontispice to an optical tractate by jesuit Franois de Aguilon, 1613: In the center Juno, behind her the peacocks, left Hermes-Merkur with Argus' head, right Athena-Minerva with the head of Medusa on her shield. Unfortunately, Rubens own treatise on color has been lost.
Peter Paul Rubens (restored)
Peter Paul Rubens
Athanasius Kircher (1602-1680)

Astrological connections
Cubicle-type camera obscura illustrated by Athanasius Kircher in Ars Magna Lucis et Umbrae, Rome, 1646
Athanasius Kircher, Ars magna lucis et umbrae, Amsterdam, Janossius, 1671: Laterna magica
Athanasius Kircher developed a system of correspondences between musical intervals and colors [home.comcast.net/~sean.day/art-history.htm]:
Kircher also developed a set of correspondences between voice types and colors [home.comcast.net/~sean.day/ art-history.htm]:
octave seventh major sixth minor sixth augmented fifth fifth diminished fifth fourth major third minor third major wholetone minor second minor wholetone
green blue-violet fire red red-violet dark brown gold blue brown-yellow bright red gold black white Grey high, soft and broken soft and quiet deep and unclear high and tense first deep, then high strong and deep white yellow fire-red scarlet blue black
Gino Severini, correspondence between music and color
Gino Severini, a golden rectangle composed of 16 golden rectangles whose colors are associated to musical notes (after Georges Vantongerloo) -1919
Gino Severini, correspondence between music and color (after Georges Vantongerloo) -1919

StefanArteni PerspectiveAsFormAndMedium1

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SolInvictus Press 2006

Roman wall paintings

Paolo Caliari Veronese

Paolo Caliari Veronese

Jacopo Bassano (Giacomo dal Ponte)

Jacopo Bassano (Giacomo dal Ponte)

Spanish Romanesque wall painting

Spanish Romanesque wall painting

Sucevita, Byzantine wall painting

Probota, Byzantine wall painting

Greme Museum, Basil Chapel, Cappadocia (Photo Dick Osseman)

Greme Museum, Yilanli or Snake Church, Cappadocia (Photo Dick Osseman)

Pskov, wall painting

Romanesque wall painting

Greme Museum, Karanlik Church, Cappadocia (Photo Dick Osseman)

Anonymous Romanesque master

Anonymous Romanesque master

Romanesque wall painting

Altarpiece of San Cristobal

Psalter of Saint Louis

Anonymous Gothic master

Workshop of Marco del Buono Giamberti, Appolonio di Giovanni

Master of Panels of the Argonauts

Luca d'Egidio di Ventura (Luca Signorelli)

Jacopo Negretti (Palma il Vecchio)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Tintoretto (Jacopo Robusti)

Paolo Caliari Veronese

Paolo Caliari Veronese

Anonymous Venetian master

Rosso Fiorentino (Giovanni Battista di Jacopo di Rossi)

Rosso Fiorentino (Giovanni Battista di Jacopo di Rossi)

El Greco (Domenikos Theotokopoulos)

El Greco (Domenikos Theotokopoulos)

Peter Paul Rubens

Peter Paul Rubens

Peter Paul Rubens

The Play Of Form

Aya Sofya mosaic

Sveta Gora Byzantine wall painting

Ohrid Byzantine wall painting

Studenitza Byzantine wall painting

Decani Byzantine wall painting

Romanesque wall painting

Tintoretto (Jacopo Robusti)

Peter Paul Rubens

Peter Paul Rubens

Andr Derain Andr Lhote

Roman wall painting

Andr Derain, two figures from La Grande Bacchanale Noire

Anonymous Milanese master Domenico Ghirlandaio

Attributed to Raffaello Sanzio