Brunelleschi’s geometry, Masaccio’s technique and vision, Alberti’s initial and popular account, followed by a comprehensive account by Piero della Francesca.
Brunelleschi
How an architect, two great masters of painting, and the author of an early textbook on painting applied geometric optics to change painting.
The significance of Alberti’s textbook on painting and simplified perspective, followed by Piero’s account of perspective, and Vasari’s new history of painting.
For over a century, Italian painters had strived to achieve coherent perspective projection, but it was until about 1420 that this was achieved. How essential was it?
Paintings of the city of Florence recreating times past, from Dante’s meeting with Beatrice, to Lorenzo the Magnificent in the late 15th century.
Four masterly paintings telling stories. Painted by 3 different hands, each works in 4 dimensions thanks to narrative devices, as explained here.
A six metre (21 feet) high fresco is a major undertaking, particularly when it’s one of the first paintings to use accurate linear perspective. How was it done?
If Brunelleschi had introduced Cubism instead of perspective projection, would that have altered human visual perception?
His final frescoes were an inspiration to Michelangelo and others in the Renaissance, and include one of the greatest paintings in Europe.
The importance of perspective in Western painting is hotly debated, but there is no doubt that is has brought about very visible change.
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