Download or read book The Perspective in Italian Painting During the Renaissance written by Saida Seddik and published by Createspace Independent Publishing Platform. This book was released on 2017-10-19 with total page 100 pages. Available in PDF, EPUB and Kindle. Book excerpt: This PhD dissertation is about western Art, and especially about "the perspective in the Italian Renaissance Painting. My big concern is to demonstrate how the early painters since the late twelve-century were creating a new view and composition of the space in their painting. This new perception was the founding of the perspective as three-dimensional space based on vanishing point. Giotto was the first one who renovated the perception of space and changed it from flatness, as it used to be in the middle Ages, to create the perception of deepness by using chiaroscuro [light and shadow]. From his way of conceiving and composing the subjects of his paintings come the first steps of conceiving the third dimension which were elaborated by other Italian painters later. This is the concern of this subject, is to demonstrate how the change from the 2 dimensional perceptions changed gradually to the 3 dimensional one. The focus here is about the new perception of pictorial space that was elaborated in the early renaissance by Italian painters and applied later in architecture, astronomy, and cartography, then in physic by the sixteen century with Galilee. Indeed the experience of Giotto as the earliest sole painter who applied some notion of tree dimensional space by the use of the chiaroscuro [light and shadow], was grandiose in the history of Italian painting. Giorgio Vasari describes Giotto as making a decisive break with the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years." However Brunelleschi; the Italian architect, was the first to adopt the new notion of space using vanishing point to visualize the dome of the great cathedral he was chosen to design its architectural plans. Brunelleschi, of course, was no mere sidewalk painter.