PAINTERLY PERSPECTIVE AND PIETY: Religious Uses of the Vanishing Point, from the 15th to the 18th Century

PAINTERLY PERSPECTIVE AND PIETY: Religious Uses of the Vanishing Point, from the 15th to the 18th Century While The Renaissance Is Generally Perceived To Be A Secular Movement, The Majority Of Large Artworks Executed In Th Century Italy Were From Ecclesiastical Commissions Because Of The Nature Of Primarily Basilica Plan Churches, A Parishioner S View Was Directed By The Diminishing Parallel Lines Formed By The Walls Of The Structure Appearing To Converge Upon A Mutual Point, This Resulted In An Artistic Phenomenon Known As The Vanishing Point As Applied To Ecclesiastical Artwork, The Catholic Vanishing Point CVP Was Deliberately Situated Upon Or Aligned With A Given Object Such As The Eucharist Wafer Or Host, The Head Of Christ Or The Womb Of The Virgin Mary Possessing Great Symbolic Significance In Roman Liturgy Masaccio S Fresco Painting Of The Trinity Circa In The Florentine Church Of Santa Maria Novella, Analyzed In Physical And Symbolic Detail, Provides The First Illustration Of A Consistently Employed Linear Perspective Within An Ecclesiastical Setting Leonardo S Last Supper, Venaziano S St Lucy Altarpiece, And Tome S Transparente Illustrate The Continuation Of This Use Of Liturgical Perspective

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  • Paperback
  • 312 pages
  • PAINTERLY PERSPECTIVE AND PIETY: Religious Uses of the Vanishing Point, from the 15th to the 18th Century
  • John F. Moffitt
  • English
  • 08 October 2019
  • 9780786435050

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