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In art, especially painting, aerial perspective or atmospheric perspective [5] refers to the technique of creating an illusion of depth by depicting distant objects as paler, less detailed, and usually bluer than near objects. This technique was introduced in painting by Leonardo da Vinci to portray what was observed in nature and evident in ...
Aerial perspective – Atmospheric effects on the appearance of a distant object; Bird's-eye view – Elevated view of an object or location from above; Indigenous Australian art – Art made by Aboriginal and Torres Strait Islander peoples of Australia; Cityscape – An artistic representation of the physical aspects of a city or urban area
Original – Atmospheric perspective, or aerial perspective, is the effect caused by the atmosphere on the appearance of objects observed by a viewer.As the distance between the object and the viewer increases, the contrast decreases and the colours become lighter and more bluish, until the image of the object eventually fades into the sky.
Mark Kistler's Imagination Station is a public television series where artist Mark Kistler taught children and adults to draw using techniques such as perspective and shading. The program was originally presented by TV station KIXE in the Redding and Chico areas of the U.S. state of California .
Forced perspective is a technique that employs optical illusion to make an object appear farther away, closer, larger or smaller than it actually is. It manipulates human visual perception through the use of scaled objects and the correlation between them and the vantage point of the spectator or camera .
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Hughes has written four books investigating themes that parallel his art. His latest is Paradoxymoron: Foolish Wisdom in Words and Pictures, [14] published in 2011. His other books are Vicious Circles and Infinity: A Panoply of Paradoxes [15] (with artist George Brecht); Upon the Pun: Dual Meaning in Words and Pictures, with Paul Hammond (London, W.H. Allen, 1978); and More on Oxymoron ...
Wallace states that in addition to conceiving of these frescoes in terms of perspective, Michelangelo also took into consideration the architectural and environmental context in which they were set. The Conversion of Saul (or of Saint Paul) is often discussed in conjunction with The Crucifixion of Saint Peter. In large part this is because the ...