Abstract
We show optical evidence that demonstrates artists as early as Jan van Eyck and Robert Campin (c1425) used optical projections as aids for producing their paintings. We also have found optical evidence within works by later artists, including Bermejo (c1475), Lotto (c1525), Caravaggio (c1600), de la Tour (c1650), Chardin (c1750) and Ingres (c1825), demonstrating a continuum in the use of optical projections by artists, along with an evolution in the sophistication of that use. However, even for paintings where we have been able to extract unambiguous, quantitative evidence of the direct use of optical projections for producing certain of the features, this does not mean that paintings are effectively photographs. Because the hand and mind of the artist are intimately involved in the creation process, understanding these complex images requires more than can be obtained from only applying the equations of geometrical optics.
| Original language | English (US) |
|---|---|
| Article number | 36 |
| Pages (from-to) | 326-336 |
| Number of pages | 11 |
| Journal | Proceedings of SPIE - The International Society for Optical Engineering |
| Volume | 5666 |
| DOIs | |
| State | Published - Jul 20 2005 |
| Event | Proceedings of SPIE-IS and T Electronic Imaging - Human Vision and Electronic Imaging X - San Jose, CA, United States Duration: Jan 17 2005 → Jan 20 2005 |
Keywords
- Art
- Holbein
- Human vision
- Image analysis
- Paintings
- Renaissance
- Van Eyck
ASJC Scopus subject areas
- Electronic, Optical and Magnetic Materials
- Condensed Matter Physics
- Computer Science Applications
- Applied Mathematics
- Electrical and Electronic Engineering