On Right and Wrong Drawings
In: Art & PerceptionExperimental Psychology, Utrecht University, Heidelberglaan 1, 3584 CS Utrecht, The Netherlands
Search for other papers by Jan Koenderink in
Current site
Google Scholar
Experimental Psychology, Utrecht University, Heidelberglaan 1, 3584 CS Utrecht, The Netherlands
Search for other papers by Andrea van Doorn in
Current site
Google Scholar
Search for other papers by Baingio Pinna in
Current site
Google Scholar
Search for other papers by Robert Pepperell in
Current site
Google Scholar
Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal, by considering the effects of panning eye movements when perusing scenes, and of changes of viewpoint induced by translations with respect to pictorial surfaces. We present examples from formal geometry, photography, and the visual arts.
Purchase
Buy instant access (PDF download and unlimited online access):
Institutional Login
Log in with Open Athens, Shibboleth, or your institutional credentials
Personal login
Log in with your brill.com account
-
Alberti L. B. (1435). Della Pittura, Book I. (Numerous editions and translations available.)
-
Ames A. Jr. (1925). The illusion of depth from single pictures. J. Opt. Soc. Am. 10, 137–148.
-
Ames A. Jr. (1952). See Ittelson, W. H. (1952).
-
Bahill A. T., and Stark L. (1975). Neurological control of horizontal and vertical components of oblique saccadic eye movements. Math. Biosci. 27, 287–298.
-
Baldwin J., , Burleigh A., and Pepperell R. (2014). Comparing artistic and geometrical perspective depictions of space in the visual field. i-Perception 5, 536–547.
-
Bonbon B. S. (1985). La Géométrie Spherique Tridimensionelle, Perspective Spherique, Eyrolles, Paris, France.
-
Bouret J. (1950). Picasso: Dessins, Diffusion Française, Paris, France.
-
Brentano F. (1995, original 1874). Psychology from an Empirical Standpoint, Routledge, London, UK.
-
Burton H. E. (1945). The optics of Euclid. J. Opt. Soc. Am. 35, 357–372.
-
Cassirer E. (1923–1929). Philosophie der Symbolischen Formen, 1st ed., 1. Band: Die Sprache (1923); 2. Band: Das Mythische Denken (1925); 3. Band: Phänomenologie der Erkenntnis (1929), Bruno Cassirer, Berlin, Germany.Claparède, E. (1904). Stereoscopie monoculaire paradoxale. Ann. Oculist. 132, 465–466.
-
Clarke K. (1949). Landscape into Art (adopted from his Slade Lectures), J. Murray, London, UK.
-
Cornish V. (1935). Scenery and the Sense of Sight, Cambridge University Press, London, UK.
-
Davies M. (1992). Turner as Professor: The Artist and Linear Perspective, Tate, London, UK.
-
Denis M. (1890). Définition du néo-traditionnisme. Art Crit. 65, 556–558.
-
Derksen T. (1999). Discovery of linear perspective and its limitations. Philosophica 63, 19–50.
-
Destombes M. (1985). Guillaume Postel cartographe, in: AAVV, Guillaume Postel 1581–1981, Actes du Colloque International d’Avranches, pp. 361–371, Guy Trédaniel, Paris, France.
-
Dubery F., and Willats J. (1983). Perspective and Other Drawing Systems, Van Nostrand Reinhold, New York, NY, USA.
-
Eder J.M. (1945). History of Photography, 4th ed. [Geschichte der Photographie], Dover Publications, Inc., New York, NY, USA.
-
Elkins J. (1994). The Poetics of Perspective, Cornell University Press, Ithaca, NY, USA.
-
Enright J. T., (1991). Paradoxical monocular stereopsis and perspective vergence, in: Pictorial Communication in Virtual and Real Environments, Ellis S.R. (Ed.), pp. 567–576. Taylor & Francis, Bristol, PA, USA.
-
Euclid (ca. 300 BC). Optics. See Burton (1945).
-
Fleming-Williams I. (1990). Constable and his Drawings, Philip Wilson Publishers, London, UK.
-
Flocon A., and Barre A. (1968). La Perspective Curviligne, de l’Espace Visuel à L’Image Construite, Flammarion, Paris, France.
-
Fouquet J. (ca. 1455–1460). Entrée de l’empereur Charles IV à Saint-Denis, Grandes Chroniques de France, enluminées par Jean Fouquet, Tours, vers 1455–1460, BnF, département des Manuscrits, Français 6465, fol. 442 (Livre de Charles V), Paris, France.
-
Gibson J. J. (1950). The Perception of the Visual World, Houghton Mifflin, Boston, MA, USA.
-
Gibson J. J. (1954). A theory of pictorial perception. Av. Commun. Rev. 2, 3–23.
-
Gibson J. J. (1960). Pictures, perspective, and perception. Daedalus 89, 216–227.
-
Gibson J. J. (1971). The information available in pictures. Leonardo 4, 27–35.
-
Goldberg D. M., and Gott J. R. III, (2007). Flexion and skewness in map projections of the earth. Cartographica 42, 1911–1925.
-
Gombrich E. H. (1961). Art and Illusion: A Study in the Psychology of Pictorial Representation, Princeton University Press, Princeton, NJ, USA.
-
Graf U. (1940). Pathologische Perspektiven. Jahresber. Dtsch. Math.-Verein. 50, 35–53.
-
Graham C. H. (1966). Vision and Visual Perception, Wiley, New York, NY, USA.
-
Gurney J. (2010). Color and Light: a Guide for the Realist Painter, Andrews McMeel Publishing, LLC, Kansas City, MO, USA.
-
Hagen M. A. (1976). Influence of picture surface and station point on the ability to compensate for oblique view in pictorial perception. Dev. Psychol. 12, 57–63.
-
Hauck G. (1879). Die Subjektive Perspektive und die Horizontalen Curvaturen des Dorischen Styls. Eine Perspektivisch-Ästhetische Studie, Wittwer, Stuttgart, Germany.
-
Hauck G. (1882). Über die physiologische Begründung der Perspektive. Wochenbl. Archit. Ing. 52, 265–266; 54, 280–282; 56, 290–294; 58, 302–303.
-
Heider F. (1926). Ding und Medium [Thing and medium]. Symposion 1, 109–157. Reprinted (2005) by Kadmos Verlag, Berlin.
-
Hill R. (1926). A lens for whole-sky photography. Proc. Optical Convention 2, 878–883, and British pat no 225 398/1923.
-
Hodler F. (1892). Die Lebensmüden, Neue Pinakothek, Munich; see: http://commons.wikimedia.org/wiki/File: Ferdinand Hodler Die Lebensmüden.jpg.
-
Ittelson W. H. (1952). The Ames Demonstrations in Perception, Princeton University Press, Princeton, NJ, USA.
-
Kemp M. (1990). The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press, New Haven, CT, USA.
-
Kepler J. (2000, orig. 1604). Optics, Paralipomena to Witelo & Optical Part of Astronomy (transl. W. H. Donahue), p. 186, Green Lion Press, Santa Fe, NM, USA.
-
Kumler J. J. an d Bauer, M. (2000). Fisheye lens designs and their relative performance. Proc. SPIE 4093, 360–369.
-
Koenderink J. J. (1982). Different concepts of “ray” in optics: Link between resolving power and radiometry. Am. J. Phys. 50, 1012–1015.
-
Koenderink J. J. (2014). Telescopic horizon scanning. Appl. Opt. 53, 8556–8563.
-
Koenderink, J. J. and van Doorn, A. J. (1975). Invariant properties of the motion parallax field due to the movement of rigid bodies relative to an observer. Opt. Acta22, 773–791.Koenderink, J. J. and van Doorn, A. J. (1987). Facts on optic flow. Biol. Cybern. 56, 247–254.
-
Koenderink J. J., and van Doorn A. J. (1991). Affine structure from motion. J. Opt. Soc. Am. A 8, 377–385.
-
Koenderink J. J., , van Doorn A. J., and Kappers A. M. L. (1994). On so called paradoxical monocular stereoscopy. Perception 23, 583–594.
-
Koenderink J. J., , van Doorn A. J., , Kappers A. M. L., and Todd J. T. (2001). Ambiguity and the ‘mental eye’ in pictorial relief. Perception 30, 431–448.
-
Koenderink J. J., , van Doorn A. J., , Kappers A. M. L., and Todd J. T. (2004). Pointing out of the picture. Perception 33, 513–530.
-
Koenderink J. J., , van Doorn A. J., and Todd J. T. (2009). Wide distribution of external local sign in the normal population. Psychol. Res. 73, 14–22.
-
Koenderink J. J., , van Doorn A. J., , de Ridder H., and Oomes S. (2010). Visual rays are parallel. Perception 39, 1163–1171.
-
Koenderink J. J., , van Doorn A. J., and Wagemans J. (2011). Depth. i-Perception 2, 541–564.
-
Koenderink J. J., , van Doorn A., , Pinna B., and Pepperell R. (in press). Arm chair perspective preferences. Art Percept. DOI: 10.1163/22134913-00002044.
-
Kolmogorov A. N. (1963). On tables of random numbers. Sankhyā Ser. A 25, 369–376.
-
Koschmieder H. (1924). Theorie der horizontalen Sichtweite. Beitr. Phys. Freien Atm. 12, 33–53, 171–181.
-
Lambert J. H. (1772, 1894). Anmerkungen und Zusätze zur Entwerfung der Land- und Himmelscharten, Ostwald’s Klassiker der Exakten Wissenschaften, Vol. 54, Verlag von Wilhelm Engelmann, Leipzig, Germany.
-
Langer S. (1942). Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, Harvard University Press, Cambridge, MA, USA.
-
Langer S. (1953). Feeling and Form: A Theory of Art, Scribner, New York, NY, USA.
-
Listing J. B. (1845). Beitrag zur Physiologischen Optik, Göttinger Studien, Vandenhoeck and Ruprecht, Göttingen, Germany.
-
Lombard M., & Ditton T. (1997). At the heart of it all: The concept of presence. J. Comput. Mediat. Commun. 3. http://www.ascusc.org/jcmc/vol3/issue2/lombard.html.
-
Mach E. (1959, orig. 1886 in German). The Analysis of Sensations and the Relation of the Physical to the Psychical, Dover, New York, NY. USA.
-
Machotka P. (1996). Cézanne: Landscape into Art, Yale University Press, New Haven, CT, USA.
-
Meinong A. (1899). Über Gegenstände Höherer Ordnung und deren Verhältniss zur Inneren Wahrnehmung. Z. Psychol. Physiol. Sinnesorg. 21, 187–272.
-
Mercator G. (1595). Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabricati Figura, Duisburg, Germany.
-
Merlitz H. (2010) Distortion of binoculars revisited: Does the sweet spot exist? J. Opt. Soc. Am. A 27, 50–57.
-
Oomes A. H. J., , Koenderink J. J., , van Doorn A. J., and ve Ridder H. (2009). What are the uncurved lines in our visual field? A fresh look at Helmholtz’s checkerboard, Perception 38, 1284–1294.
-
Panofsky E. (1925). Die Perspektive als symbolische Form, in: Vorträge der Bibliothek Warburg, 1924/1925, pp. 258–330, GB Teubner, Leipzig, Germany.
-
Pepperell R. (in press). Egocentric perspective: Depicting the body from its own point of view, Leonardo. DOI: 10.1162/LEON_a_01056.
-
Pepperell R., and Haertel M. (2014). Do artists use linear perspective to depict visual space? Perception 43, 395–416.
-
Picasso P. (1940), see Bouret (1950).
-
Pirenne M. H. (1970). Optics, Painting and Photography, Cambridge University Press, Cambridge, UK.
-
Pont S. C., , Nefs H. T., , van Doorn A. J., , Wijntjes M. W. A., , te Pas S. F., , de Ridder H., and Koenderink J. J. (2011). Depth in box spaces. Seeing Perceiving 25, 339–349.
-
Postel G. (1581). See Destombes, M. (1985).
-
Ptolemy (2nd c. AD) Planisphaerium, see Sidoli and Berggren (2007).
-
Rehkämper K., (2003). What you see is what you get: The problems of linear perspective, in: Looking into Pictures, Hecht H., , Schwartz R., and Atherton M. (Eds), pp. 179–190, Bradford Books, Cambridge, MA, USA.
-
Rewald J. (1942). Van Gogh vs. nature: Did Vincent or the camera lie? Art News 41, 1–14.
-
Richardson J. (1964). G. Braque: An American tribute, Public Education Association, New York, NY, USA.
-
Richardson J. (1996). A Life of Picasso, Volume 2, Jonathan Cape, London, UK.
-
Riedl R. (1975). Die Ordnung des Lebendigen. Systembedingungen der Evolution, Paul Parey, Hamburg, Germany.
-
Riemann B. (1854). Ueber die Hypothesen, welche der Geometrie zu Grunde liegen [Habilitationsschrift, 10 June 1854], Abh. Königl. Gesellsch. Wissensch. Göttingen. 13, 133–152.
-
Rogers B. J. (2008). Helmholtz’s celestial sphere and the perception of straight lines. Perception37 Suppl., 125.
-
Rogers B. J., and Brecher K. (2007). Straight lines, ‘uncurved lines’, and Helmholtz’s ‘great circles on the celestial sphere’. Perception 36, 1275–1289.
-
Sasaki K.-I. (2013). Perspectives East and West Contemporary Aesthetics, (http://www.contempaesthetics.org).
-
Schlosberg H. (1941). Stereoscopic depth from single pictures. Am. J. Psychol. 54, 601–605.
-
Sidoli N., and Berggren J. L. (2007). The Arabic version of Ptolemy’s Planisphere or Flattening the Surface of the Sphere: Text, translation, commentary. SCIAMVS 8, 37–139.
-
Sparks D. L. (2002). The brainstem control of saccadic eye movements. Nat. Neurosci. 3, 952–964.
-
Tisdall C., and Bozzolla A. (1977). Futurism, pp. 42–43, Thames and Hudson, London, UK.
-
Tissot N. A. (1881). Memoire sur la Representation des Surfaces et les Projections des Cartes Geographiques. Gauthier Villars, Paris, France.
-
Van Gogh V. (1882). See www.vangoghletters.org, and in particular letter 254 of the 5th or 6th August 1882.
-
Van Gogh V. (1888a). Letter Sketches, Arles: 17 October, 1888, Pierpont Morgan Library, New York, NY, USA, F:B22, JH:1610; see: http://www.vangoghgallery.com/catalog/Letter%20Sketches/2075/Vincent s -Bedroom.html.
-
Van Gogh V. (1888b). Bedroom in Arles, Saint-Rémie Art Institute of Chicago, IL, USA; see: http://commons.wikimedia.org/wiki/File:VanGogh Bedroom Arles.jpg.
-
Vangorp P., , Richardt C., , Cooper E. A., , Chaurasia G., , Banks M. S., and Drettakis G. (2013). Perception of perspective distortions in image-based rendering. ACM Trans. Graph. (SIGGRAPH Conf. Proc.) 32, 58.
-
Von Helmholtz H. (1866). Handbuch der Physiologischen Optik, 1st ed.; 3rd, posthumous edition (1909–1911) by Voss, Hamburg, Germany.
-
Von Hildebrand A. (1893). Das Problem der Form in der Bildenden Kunst, Heitz und Mundell, Strassburg, Germany.
-
Von Uexküll J. (1909). Umwelt und Innenwelt der Tiere, Springer, Berlin, Germany.
-
Ward J. L. (1976). The perception of pictorial space in perspective pictures. Leonardo 9, 279–288.
-
Zeiss C., and von Rohr M. (1904). Linsensystem zum Einaugigen Betrachten einer in der Brennebene Befindlichen Photographie, Kaiserliches Patentamt Patentschrift Nr. 151312 Klasse 42h. (1904).
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 2068 | 294 | 13 |
| Full Text Views | 310 | 15 | 2 |
| PDF Views & Downloads | 107 | 8 | 0 |
On Right and Wrong Drawings
In: Art & PerceptionExperimental Psychology, Utrecht University, Heidelberglaan 1, 3584 CS Utrecht, The Netherlands
Search for other papers by Jan Koenderink in
Current site
Google Scholar
PubMed
Experimental Psychology, Utrecht University, Heidelberglaan 1, 3584 CS Utrecht, The Netherlands
Search for other papers by Andrea van Doorn in
Current site
Google Scholar
PubMed
Search for other papers by Baingio Pinna in
Current site
Google Scholar
PubMed
Search for other papers by Robert Pepperell in
Current site
Google Scholar
PubMed
Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal, by considering the effects of panning eye movements when perusing scenes, and of changes of viewpoint induced by translations with respect to pictorial surfaces. We present examples from formal geometry, photography, and the visual arts.
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 2068 | 294 | 13 |
| Full Text Views | 310 | 15 | 2 |
| PDF Views & Downloads | 107 | 8 | 0 |