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Painterly Perspective and Piety - Religious Uses of the Vanishing Point, from the 15th to the 18th Century (Paperback, illustrated edition)
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Painterly Perspective and Piety - Religious Uses of the Vanishing Point, from the 15th to the 18th Century (Paperback, illustrated edition)
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While the Renaissance is generally perceived to be a secular
movement, the majority of large artworks executed in 15th 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
1427) 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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