The story of Dibutades who painted the outline of her boyfriend’s shadow, leading to early struggles with the optics of cast shadows, their use as cues to depth and shape, and appearance in landscapes. Paintings of shadow play.
Antonello
From Christ’s triumphal entry into Jerusalem, through the Last Supper, to his trials and crowning with thorns.
From a saint’s integrated office, through tables with quills and ink-pots, to beautifully crafted furniture for the home office.
A small selection of favourites from its huge and eclectic collection, from Duccio in about 1310 to Joseph Wright of Derby and a gem from Thomas Jones.
Related optical effects that combine to give the impression of depth. Explored in Renaissance paintings, and some from the 19th century.
Cicero and the tomb of Archimedes, a theatre at Taormina, the War of the Sicilian Vespers, Antonello’s oil paintings, and urban poverty.
The sign of (human) death. Lots of skulls means mass death or apocalypse. Held by Hamlet, featured in vanitas paintings, and with Mary Magdalene.
Signatures written on scraps of paper, or in books, with comments, dedications in graffiti, and an apocalyptic vision of Botticelli.
Cameo views of landscapes were common practice during the Renaissance, and also had value in locating the primary view.
From the fur-trimmed cloaks of Jan van Eyck, to the soft folds of Lisa Gherardini’s dress: clothing and fabrics painted in oils.
The Eclectic Light Company 