Saturday, July 3, 2021

Linear Perspective is a Good Example

Girolamo Marchesi (Girolamo da Cotignola)
View of a City
ca. 1520
oil on panel
Palazzo dei Diamanti, Ferrara

attributed to Pier Francesco Foschi
Judgment of Solomon
ca. 1525-50
oil on panel
Galleria Borghese, Rome

Frei Carlos de Lisboa
Risen Christ appears to his Mother
1529
oil on panel
Museu Nacional de Arte Antiga, Lisbon

Giuliano Bugiadini
The Story of Tobit
1536
oil on panel
Gemäldegalerie, Berlin

Jacopo Tintoretto
St Mark's Body brought to Venice
ca. 1562-66
oil on canvas
Gallerie dell' Accademia, Venice

Hans Vredeman de Vries
St Paul, Trajan, and the Widow
before 1635
oil on panel
Hunterian Art Gallery, University of Glasgow

Pieter Saenredam
Interior of the Janskerk at Utrecht
ca. 1650
oil on panel
Museum Boijmans Van Beuningen, Rotterdam

Samuel van Hoogstraten
View through a House
1662
oil on canvas
National Trust, Dyrham Park, Gloucestershire

Andrea Pozzo and workshop
The Last Supper in a Palatial Setting
ca. 1708
oil on canvas
Palazzo Pretorio, Trento

Gian Paolo Panini
Interior of St Peter's Basilica, Rome
ca. 1735
oil on canvas
Museo del Settecento Veneziano, Ca' Rezzonico, Venice

Gabriele Bella
Orphan Choir performing for a Noble Audience
ca. 1779-92
oil on canvas
Pinacoteca Querini Stampalia, Venice

Francesco Guardi
Pope Pius VI descending the Throne to take leave of the Doge
in the Hall of SS. Giovanni e Paolo, Venice

1782
oil on canvas
Cleveland Museum of Art, Ohio

Giovanni Muzzioli
Roman Boys playing a Ball Game with Toy Soldiers
ca. 1885-90
oil on canvas
private collection

Georg Achen
Interior
1901
oil on canvas
Musée d'Orsay, Paris

Francis Cook
Interior of Augres Studio
1976
oil on board
Sir Francis Cook Gallery, Trinity, Jersey

 "Works of art are often sites where the issues or questions a community or culture finds urgent, fundamental, or troublesome are elaborated and negotiated.  In part, this is a matter of what Nelson Goodman calls the, "cognitive efficacy" of visual representations: through representing or symbolizing selected elements of "the world," experience is made susceptible to ordering and rearrangement; the world can be more completely grasped, ordered, and illuminated.  Visual representation is, consequently, a vehicle for the increase of knowledge, both scientific and nonscientific.  But knowledge is ideological: what passes for knowledge at any given moment is radically conditioned by a complex of regnant interests, values, utilities.  What may seem at first a pure discovery, an objective truth emergent in visual representation – linear perspective is a good example – is later revealed as a culturally specific, ideologically engaged, contingent construction."

– Michael Leja, from Reframing Abstract Expressionism (Yale University Press, 1993)