The Art of Perspective

Perspective is one of my favorite art elements of Space. Using perspective can create the illusion of depth in a painting. It's important in creating the focal point of a painting, not only to create interest, but to emphasize the importance of an object, figure, or shape in your composition. To make your two-dimensional painting look three-dimensional, you may choose to vary size, position objects relative to each other, and use overlapping.

My personal favorite for teaching this topic is The Gleaners by Jean-François Millet. See More Seniors' Art -- Acrylic Landscapes for the six ways to create depth in a two-dimensional painting.

Café Terrace at Night (1888), Van Gogh

Perhaps one of the best examples of the use of perspective may be found in Van Gogh's Café Terrace at Night (1888). While somewhat cartoon-like, I appreciate his use of color and repetition of shapes. I hadn't noticed the color and relative size of the figures walking up the street outside the café, as I was focused more on the silhouetted patrons against the elliptical white tabletops. The oval shapes are echoed in the starry night sky, and the cobblestone street has more of a pointillist vibe. I'd have to see this in-person.

Bedroom in Arles (1888), Van Gogh

Also painted in 1888 is Van Gogh's Bedroom in Arles. Much more shortened in its perspective, the floorboards and the placement and size of the chair against the back wall create the depth. A second version added a checkerboard texture to the floor. Van Gogh was very selective about the colors of the objects and wanted to create a restful and dreamlike setting. I love the simplicity and absence of light and shadow.

The Last Supper (c. 1495–1498),
Leonardo da Vinci

Other versions of single-point perspective include Leonardo da Vinci's and Raphael's versions of The Last Supper. All lines converge just to the right of Christ's head, focusing on the central figure of the feast. The overlapping figures subtly emphasize depth in the foreground. The horizon lines up with Christ's head, with orthogonal lines radiating outward, and the long horizontal table grounding the scene.

The Dance Class
(1874), Degas

Edgar Degas used perspective in his painting of ballet dancers. In The Dance Class, Degas uses size and placement of his dancers to achieve depth in his painting. Like Van Gogh's bedroom, the floorboards recede from view and vanish in the distance. There's even a window far off in the distance through the ornate doorway. The cluster of dancers represents the ~horizontal line. The orthogonal line from the dancer with the red and blue bows to the teacher draws our eyes toward the light blue tutu at the end of the horizontal line. The red bow holds our attention left of center.

Rue de la Bavolle, Honfleur
(1864), Monet

Using mostly orthogonal lines, Claude Monet captured this street scene in the old port town of Honfleur. Due to the shadowing, Monet has divided his painting in half. He once again uses the contrasting colors characteristic of the Impressionists. He seems to have been experimenting with light and dark values as well. The figures in red and blue hold your interest and draw your eyes toward the center.

The Gold Weigher (1675),
Cornelius de Man

This final painting uses two-point perspective and is reminiscent of Dutch painter, Johannes Vermeer. It is painted by another Dutch painter, Cornelius de Man (1621-1706). Here, there are two vanishing points, one on the left and one on the right. Initially, I thought this painting was done by Vermeer, but even with the checkered floor, there is no bright blue and yellow that would be characteristic of his work. Well, maybe the soft blue of the woman's shoulder and the golden highlights of the table!