From depth cues used by painters in ancient times, through the many advances in the Northern Renaissance, to modern photographic projections.
Masaccio
Brunelleschi’s geometry, Masaccio’s technique and vision, Alberti’s initial and popular account, followed by a comprehensive account by Piero della Francesca.
In the Roman arena, with a runaway slave, sparing the life of Daniel, at the feet of St Jerome and St Rufina, and snoring gently on the rug.
Leonardo da Vinci studied different types of shade and shadow, but recommended painters not to depict cast shadows in their paintings. This explains why.
Masaccio’s 20-panel polyptych, Bosch’s triptych, and one of the most substantial paintings by Leonardo da Vinci. Even Monet’s Grainstacks series.
A collection of paintings with strange incongruities that can make them impossible to read, from Masaccio to Gérôme.
Inscriptions in paintings that reveal the story, or quote from its literary source, from Rembrandt to the Pre-Raphaelites.
Instead of splitting scenes into separate frames as in comics, in the Renaissance they’d be integrated into a single image
Full contents for this series, with lists of artists considered in each of its articles, and links to the articles.
Classical and mediaeval dress was simple, and not tailored much until after 1000 CE. Painters were also constrained by fresco and egg tempera.
The Eclectic Light Company 