Field, Judith Veronica (Author)
Piero della Francesca, competent both as a painter and as a mathematician, also wrote a treatise on perspective for panting. His surviving paintings illustrate the tension between mathematical perspective and the painter’s concern for the viewer’s experience. Architecture is shown scaled down so that enough is visible, as in The Flagellation of Christ (Urbino). In the fresco cycle, The Story of the True Cross (Arezzo) systematic adjustments are made to allow for its being impossible for the viewer to stand at the ideal viewpoint built into the perspective construction, and the natural light is used to help impose unity on the cycle. Piero also uses lighting, real or imagined, as an aid to illusion, and sometimes to define the structure of the pictorial space, as in the Madonna di Sinigallia (Urbino). In his fresco of St Mary Magdalene (Arezzo), he even juxtapose real gold with a rendering of gold in paint. Piero’s mastery as a painter has largely ensured that art historians have not noticed his mathematical subterfuges.
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