Abstract

The process known in art as anamorphosis or anamorphic projection is at once a confirmation of and a challenge to the rules of linear perspective and the conventions of representation. In this first part of a two-part series of articles, the author discusses art-historical and psychoanalytic literature in regard to a role for anamorphosis beyond that of perspective theory. In this discussion, particular emphasis is placed upon the viewer actively observing the anamorphosis, introducing what the author describes as the ‘eccentric observer’. The second part of this article, to follow in the next regular issue of Leonardo, will detail modern uses of anamorphosis, with emphasis on contemporary artworks.

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
pp. 73-82
Launched on MUSE
2017-01-04
Open Access
No
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