Brunelleschi'S Perspective System Essay
This great transformation in consciousness and culture arose first in the realm of art, and is marked by the discovery of linear geometric perspective by the Florentine architect Filippo Brunelleschi (1377-1446) at the beginning of the fifteenth century.
This invention then spread throughout the western world when the rules for perspective were codified by artist, architect and philosopher Leon Battista Alberti (1404-1472) in his widely influential book, which was published in 1435.
This painting also included as much of the piazza and the surrounding buildings as would have been visible from a cone of vision located at that single point.
The effect of the mirror was to minimize the viewer’s awareness of the presence of the painted surface and to intensify the sense of depth of the painting.Adi Da’s collateral exhibition at the 52nd Biennale di Venezia in 2007, curated by renowned art critic, Achille Bonito Oliva, marked the first time his visual art was shown to an international art public.During the spring of 2008 selections from that exhibition are once again on view at the exhibit, , displayed in the Cenacolo di Ognissanti in Florence, Italy.As seen by Alberti and others during the time of the Italian Renaissance, the magical new art of perspective not only had the power to turn the artist into a god-like being capable of replacing reality with life-like simulacra but seemed itself to possess a divine force by which mortality and the terror of time could be overcome.Not only could paintings make their subjects appear to be present when they were physically absent, but they could also confer a kind of immortality through the power of the image to live on unchanged by the passage of time.“In the conventions of perspectival image-art, the physical eye and the ego-'I' are the same.” By contrast, Adi Da explains that, “The intrinsically ego-transcending root-presumption associated with the image-art I make and do is precisely the opposite of the ego-based and ego-idealizing root-presumption associated with perspectival image-art.Perspectival image-art glorifies the ego’s construction of the world—as if that ego-constructed world is (itself) Reality Itself—whereas Reality Itself is always prior to the ego’s construction of a world and to any and every 'point of view' within the world.” Properly understood, then, Adi Da’s aperspectival images must be seen and experienced as a literal inversion of the logic and method of Narcissus and a radical response to the limitations implicit in perspectival vision that have dominated the last six hundred years of Western art, architecture, science and religion.The story of Brunelleschi’s dramatic public demonstration of the power of perspective reveals a great deal about the spiritual origins and nature of the modern world.Sometime around 1425, Brunelleschi secretly painted a small, highly realistic image of the Baptistery of San Giovanni as it would have appeared in a mirror-reversed perspective when seen from a single point of view located just inside the portal of Santa Maria del Fiore, the great Duomo opposite the Baptistery for which he was later to build the world’s largest dome.For purposes of his demonstration, Brunelleschi also drilled a small hole in the painting of the Baptistery at the point that would have been exactly opposite the point within the portal of the Duomo from which the perspective of the Baptistery had been constructed.Brunelleschi then set up his painting between the Baptistery and the entry to Santa Maria del Fiore, and called for volunteers to look through the peephole from behind the surface of the painting with one eye, while holding a mirror at a mathematically correct distance in front of the painting.