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) |
|---|---|
| Title of host publication | Proceedings of SPIE - The International Society for Optical Engineering |
| Editors | B.E. Rogowitz, T.N. Pappas, S.J. Daly |
| Pages | 326-336 |
| Number of pages | 11 |
| Volume | 5666 |
| DOIs | |
| Publication status | Published - 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 |
Other
| Other | Proceedings of SPIE-IS and T Electronic Imaging - Human Vision and Electronic Imaging X |
|---|---|
| Country | United States |
| City | San Jose, CA |
| Period | 1/17/05 → 1/20/05 |
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Keywords
- Art
- Holbein
- Human vision
- Image analysis
- Paintings
- Renaissance
- Van Eyck
ASJC Scopus subject areas
- Electrical and Electronic Engineering
- Condensed Matter Physics