Abstract

The accurate perception of a painting’s image formation depends upon three concepts: the observer’s distance to the perspective plane, the aperture of his or her visual field, and the limits of the perspective plane. A comprehension of these concepts is crucial to the calculation of both the painting’s image formation and the observer’s vantage point. To approach this problem in Leonardo da Vinci’s Last Supper, the author introduces the reverse outlining perspective method, through which it is shown how the painting’s image formation can be deduced.

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 138-144
Launched on MUSE
2008-06-05
Open Access
No
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