It's all about perspective

Aldo Gonzalez

The election of Giovanni de' Medici to papacy, Giorgio Vasari, 1555/1562, From the collection of: Palazzo Vecchio Museum
Perspective helps you realize the main subject of the painting is the man sitting down on the bottom right and the least amount of details are put on the people in the back.
Rout of the Turks at Piombino, Giorgio Vasari, 1563/1565, From the collection of: Palazzo Vecchio Museum
The people are larger on the bottom of the painting compared to the people at the top because the perspective is from the bottom showing that you are closer to the people on the bottom.
The storming of the fortress near Porta Camollia in Siena, Giorgio Vasari, 1570, From the collection of: Palazzo Vecchio Museum
If you notice the buildings in the background are smaller than the people in the foreground giving the sense of depth int he painting. The perspective is from the bottom of the painting.
Capture of Porto Ercole, Giorgio Vasari, 1568/1570, From the collection of: Palazzo Vecchio Museum
Perspective is from the bottom of the painting emphasizing the people in the foreground showing they are the main subject of the painting with the background fading along with detail.
The ambassadors of Doge Ziani petition in vain for Barbarossa to make peace with Alexander III, Jacopo e Domenico Tintoretto, 1590 - 1592, From the collection of: Doge's Palace
Many Renaissance paintings understood the idea of perspective and had the objects that were farther away much smaller to give the perception of depth and create emphasis on the important subjects.
The battle of Marciano in Val di Chiana, Giorgio Vasari, 1570/1571, From the collection of: Palazzo Vecchio Museum
The farther you get from the front, the less and less detail the people had which is perfect for perspective because you lose details as you get farther from the point at which you are viewing.
I loved this painting because it gave the perception that she was inside of the wall in an extension of the room. The perspective given by Eyck was phenomenal.
The Risen Chirist and portraits of three Avogadors, Jacopo e Domenico Tintoretto, c. 1606, From the collection of: Doge's Palace
The perspective here is from the bottom middle giving emphasis to the people in the immediate foreground with the hill in the background with less details and emphasis.
Portrait of a Man, Paolo Veronese, ca. 1555, From the collection of: Museum of Fine Arts, Budapest
The perspective is from the middle because the subject is looking almost directly at you with the archway in the background. Any other view would ruin the perspective and the painting.
Allegory of Prato, Giorgio Vasari, 1563/1565, From the collection of: Palazzo Vecchio Museum
The perspective of this is rather close to the man sitting down with the background being very far from the subjects in the foreground. The point of this painting is the people and not the background.
The Feast in the House of Simon the Pharisee, Paolo Veronese, 1570, From the collection of: Palace of Versailles
I love the atmospheric perspective created in this painting giving the sense of great depth and you feel a distance between the pillars and the building behind them.
The Madonna of the Cuccina Family, Paolo Veronese, around 1571, From the collection of: Old Masters Picture Gallery, Dresden State Art Museums
The atmospheric perspective here is great because the pillar the kid is holding onto has so much detail on it with the extravagant design on it while the house on the right has very little detail.
Il Paradiso, Jacopo e Domenico Tintoretto, 1588 - 1594, From the collection of: Doge's Palace
The linear perspective here disappears into the man in the center and gives a sense of great density around him with the large amount of people surrounding him. The focus is on the man in the center.
Sebastiano Venier giving thanks to the Redeemer after the Battle of Lepanto, Paolo Caliari detto Veronese, 1581 - 1582, From the collection of: Doge's Palace
I added this because the perspective is from the bottom and gives the man who is presumably Jesus a sense of importance because you are looking up to him with the people behind him losing detail.
The Family of Darius before Alexander, Paolo Veronese, 1565-7, From the collection of: The National Gallery, London
The atmospheric perspective in this painting gives the house in the background very little detail to the eye while the people in the foreground have much more detail making them the main subject.
Credits: All media
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