Into The Depth of Perspective

This gallery shows how the style of perspective create a sense of depth in a piece of art. Many pieces containing architecture to show the perspective of buildings 'shrinking' into the background as the painting goes on. To use atmospheric perspective in the piece to give it an even greater look of depth and distance. This style really gives the the viewer a feel of realism and illusion that the painting is not on a flat object when it really is. 

Perspective scenery, Diego de Siloé, Second third of 16th century, From the collection of: Museu Nacional d'Art de Catalunya - MNAC, Barcelona
This piece by Diego creates a sense of a never ending hallway leading to nowhere.
The Ideal City, Fra Carnevale, ca. 1480-1484 (Renaissance), From the collection of: The Walters Art Museum
In this image Fra Carnevale uses buildings with a one point perspective to give a sense of great depth.
St Bernardino Preaching, Lorenzo di Pietro di Giovanni Vecchietta (studio of), About 1462 - About 1463, From the collection of: Walker Art Gallery, Liverpool
This piece by Lorenzo has a full foreground of people dancing with a long hallway that disappears in the background; this gives the people in the foreground a presence of closeness to the viewer.
Architectural Veduta, Francesco di Giorgio Martini (attributed), around 1490, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
Francesco uses the architectural style of columns to create a precise feel of perspective and a street that seems to narrow into the distant scenery.
The Benavente Chapel at Medina de Rioseco, Genaro Pérez Villaamil, 1842, From the collection of: Museo Carmen Thyssen Málaga
Genaro uses arches in the architecture to give a great change in perspective as the building goes on. Using atmospheric perspective to give the back room a feel of distance and depth.
Between Red_029, Lee, Seahyun, 이세현, 2007, From the collection of: Korean Art Museum Association
Lee uses perspective in this landscape piece showing the river and mountains get smaller as the piece goes further back.
Interior of a Church, Emanuel de Witte, 1668, From the collection of: Museum Boijmans Van Beuningen
Emanuel definitely uses light to his advantage in this piece to give the perspective a stronger since of realism, giving it a high contrast to really bring out both the darks and lights in the image.
A capriccio with a monumental staircase, Canaletto, c.1755 - c.1760, From the collection of: Royal Collection Trust, UK
Canaletto uses the effect of stairs to really show great depth in this perspective piece. Greatly shrinking the ships in the distance to give a great sense of perspective.
The Entrance to a Palace, van Delen, Dirck, 1654, From the collection of: Dulwich Picture Gallery
Van Delen uses archways to give a sense of perspective, also using atmospheric perspective to make the distant objects look further and blurry.
The Passage to the Control-room at South West Regional Headquarters, Bristol, Piper, John (CH), 1940, From the collection of: Imperial War Museums
Piper uses perspective to give the hallway a sense of depth, not necessarily focusing on detail while the perspective gives the art that feel of realism.
The Meeting of Solomon and the Queen of Sheba, Circle of Juan de la Corte, 1630 - 1660, From the collection of: Fundación Banco Santander
In this piece the use of architectural symmetry gives this building an obvious focal point in the far distance of this massive looking corridor.
Vienna, Dominican Church, Bernardo Bellotto, called Canaletto, 1759/1760, From the collection of: Kunsthistorisches Museum Wien
Bernardo gives this piece a great sense of depth using a city street to his advantage showing as the buildings and people get smaller as the painting goes on towards the focal point.
The entrance to our garden, Anna Ancher, 1903, From the collection of: Skagens Museum
Anna uses a style of Sfumato in this piece of warm to give it little contrast between colors. The side walk is the first sight of perspective as it goes back to the focal point where the door is.
Bacino di S. Marco: From the Piazzetta, Canaletto, (c. 1750), From the collection of: National Gallery of Victoria
Canaletto really pushes the focal point to the right side of this painting giving it an over exaggerated angle to the piece.
Lady at the Virginal with a Gentleman, 'The Music Lesson', Johannes Vermeer, c.1662 - 1665, From the collection of: Royal Collection Trust, UK
The large wall in this piece cuts of the focal point short, giving this work a feel of closeness to the main object in the painting.
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