Individual Artists

Mantegna by Claudia Cieri Via

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By Claudia Cieri Via

Andrea Mantegna ( c. 1431 – September thirteen, 1506) was once an Italian painter, a scholar of Roman archeology, and son in legislation of Jacopo Bellini. Like different artists of the time, Mantegna experimented with point of view, e.g., through reducing the horizon so one can create a feeling of larger monumentality. His flinty, metal landscapes and slightly stony figures provide proof of a essentially sculptural method of portray. He additionally led a workshop that used to be the best manufacturer of prints in Venice prior to 1500.

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65. PERSPECTIVE. The air is filled with endless images of the objects distributed in it; and all are represented in all, and all in one, and all in each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second mirror, and so, image within image, they go on to infinity in such a manner as that each mirror has within it a mirror, each smaller than the last and one inside the other.

This can be proved by the 2nd of this which shows: all the rays which convey the images of objects through the air are straight lines. Hence, if the images of very large bodies have to pass through very small holes, and beyond these holes recover their large size, the lines must necessarily intersect. [Footnote: 77. 2. ] 78. Necessity has provided that all the images of objects in front of the eye shall intersect in two places. One of these intersections is in the pupil, the other in the crystalline lens; and if this were not the case the eye could not see so great a number of objects as it does.

Scheme of the books on Light and shade. 111. INTRODUCTION. ] Shadow is the obstruction of light. Shadows appear to me to be of supreme importance in perspective, because, without them opaque and solid bodies will be ill defined; that which is contained within their outlines and their boundaries themselves will be illunderstood unless they are shown against a background of a different tone from themselves. And therefore in my first proposition concerning shadow I state that every opaque body is surrounded and its whole surface enveloped in shadow and light.

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