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In art, especially painting, aerial perspective or atmospheric perspective [5] refers to the technique of creating an illusion of depth by depicting distant objects as paler, less detailed, and usually bluer than near objects. This technique was introduced in painting by Leonardo da Vinci to portray what was observed in nature and evident in ...
Luminism is a style of American landscape painting of the 1850s to 1870s, characterized by effects of light in a landscape, through the use of aerial perspective and the concealing of visible brushstrokes. Luminist landscapes emphasize tranquility, often depicting calm, reflective water and a soft, hazy sky.
Artists may choose to "correct" perspective distortions, for example by drawing all spheres as perfect circles, or by drawing figures as if centered on the direction of view. In practice, unless the viewer observes the image from an extreme angle, like standing far to the side of a painting, the perspective normally looks more or less correct.
According to the theory of the art historian Marcia B. Hall, [2] which has gained considerable acceptance, [3] sfumato is one of four modes of painting colours available to Italian High Renaissance painters, along with cangiante, chiaroscuro, and unione. [4]
Perspective (graphical), representing the effects of visual perspective in graphic arts; Aerial perspective, the effect the atmosphere has on the appearance of an object as it is viewed from a distance; Perspective distortion (photography), the way that viewing a picture from the wrong position gives a perceived distortion
De pictura relied heavily on references to art in classical literature; in fact Giotto's huge Navicella in mosaic at Old St. Peter's Basilica in Rome (now effectively lost) was the only [citation needed] modern (post-classical) work described in it.
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This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo 's Last Judgement of the 1530s.