The Creation of Space Through Perspective

The Great Day of His Wrath, John Martin, Around 1851, From the collection of: Tate Britain
John Martin uses size and scaling to show how giant the cliffs in the back are compared to the falling people in the front. He also uses light and dark value to show the pit of lava and its reflection onto the shadowed areas of the landscape.
Dream of Arcadia, Thomas Cole, c. 1838, From the collection of: Denver Art Museum
The scale of the trees compared to the scale of the buildings in the back create a sense of space. Also the lack of detail in the mountains compared to the trees contributes to the sense of space.
A Saddled Bay Hunter, George Stubbs, 1786, From the collection of: Denver Art Museum
The great detail on the horse against the forest in the background makes the painting have a sense of depth to it.
In the Enemy's Country, Charles Marion Russell, 1921, From the collection of: Denver Art Museum
The scale of the mountains in the background makes the piece have the perspective of a vast landscape behind the detailed characters in the center of the piece.
The Lament for Icarus, Herbert Draper, 1898, From the collection of: Tate Britain
The length Icarus's legs are disproportionate and drawn out to make up for the distortion created by the position the person is in.
The Cholmondeley Ladies, British School 17th century, Around 1600, From the collection of: Tate Britain
The negatice and positive 2D space is the only sense of depth in this piece.
Multiple Sketch for the Banqueting House Ceiling, Sir Peter Paul Rubens, Around 1629, From the collection of: Tate Britain
The lack of horizon and lack of negative and positive space in this painting make it very flat and 2D.
A Man in a Black Cap, John Bettes, 1545, From the collection of: Tate Britain
The Soul of the Soulless City ('New York - an Abstraction'), Christopher Richard Wynne Nevinson, 1920, From the collection of: Tate Britain
The straight lines of the buildings and the slight curve of the drawn out, vertical track make the picture have a sense of depth to it.
Plate from 'Illustrations to the Bible': The Covenant, John Martin, published 1832, From the collection of: Tate Britain
The value of the light and dark makes this look like there is a vast range of mountains and a large body of water; the value and detail in this add large amounts of space and depth.
Deer and Deer Hounds in a Mountain Torrent, Sir Edwin Henry Landseer, 1832, From the collection of: Tate Britain
The artist foreshortens the legs of the deer and overlaps the deer over one of the hounds, creating a sense of space in the picture.
Lucretia Borgia Reigns in the Vatican in the Absence of Pope Alexander VI, Frank Cadogan Cowper, Around 1910, From the collection of: Tate Britain
The one point linear perspective from the woman's head makes the room in the picture look very spacious. The overlapping red, however, makes the front of the room lack depth.
Dew-Drenched Furze, Sir John Everett Millais, Around 1889, From the collection of: Tate Britain
The linear perspective that Millais uses in this picture creates a sense of depth in the picture and makes it seem as if the forest is far off and will continue on in the background.
Orchestra Stalls, Honoré Daumier (French, b.1808, d.1879), Circa 1865, From the collection of: Cincinnati Art Museum
The overlapping of the people in this scene make it look like each person is farther and farther off. However, the man draws attention because he is the most detailed.
Kensington Gardens, John Martin, 1789–1854, British, 1815, From the collection of: Yale Center for British Art
The long, horizontal road expands the scene and makes it longer and more drawn out.
River Landscape with a Castle on a High Cliff, Jacob van Ruisdael (Dutch, b.1628-1629, d.1682), 1670s, From the collection of: Cincinnati Art Museum
The overlapping of the branch and the size of the trees compared to the size of the castle expands the landscape and makes it very large, with the castle in the distance.
Credits: All media
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