Artists use perspective to represent three-dimensional objects on a two-

dimensional surface (a piece of paper or canvas) in a way that looks natural and
realistic. Perspective can create an illusion of space and depth on a flat surface (or
the picture plane).

Perspective most commonly refers to linear perspective, the optical illusion using
converging lines and vanishing points that makes objects appear smaller the
farther away from the viewer they go. Aerial or atmospheric perspective gives
things in the distance a lighter value and cooler hue than things in the
foreground. Foreshortening, yet another type of perspective, makes something
recede into the distance by compressing or shortening the length of the object.

History

The rules of perspective applied in Western art developed during the Renaissance
in Florence, Italy, in the early 1400s. Prior to this time paintings were stylized
and symbolic rather than realistic representations of life. For example, the size of
a person in a painting might indicate their importance and status relative to other
figures, rather than their proximity to the viewer, and individual colors carried
significance and meaning beyond their actual hue.

Linear Perspective

Linear perspective uses a geometric system consisting of a horizon line at eye

level, vanishing points, and lines that converge toward the vanishing points called
orthogonal lines to recreate the illusion of space and distance on a two-
dimensional surface. Renaissance artist Filippo Brunelleschi is widely credited
with the discovery of linear perspective.

Three basic types of perspective -- one-point, two-point, and three-point -- refer

to the number of vanishing points used to create the perspective illusion. Two-
point perspective is the most commonly used.

One-point perspective consists of a single vanishing point and recreates the view
when one side of the subject, such as a building, sits parallel to the picture plane
(imagine looking through a window).

Two-point perspective uses one vanishing point on either side of the subject, such
as a painting in which the corner of a building faces the viewer.

Three-point perspective works for a subject viewed from above or below. Three
vanishing points depict the effects of perspective occurring in three directions.

Aerial or Atmospheric Perspective

 Aerial or atmospheric perspective can be demonstrated by a mountain range in
which the mountains in the distance appear lighter in value and a bit cooler, or
bluer, in hue. Because of the increased layers of atmosphere between the viewer
and objects in the distance, objects that are farther away also appear to have
softer edges and fewer details. Artists replicate this optical phenomenon on paper
or canvas to create the sense of distance in a painting.

Tip

Most experienced artists can draw and paint perspective intuitively. They do not
need to draw the horizon lines, vanishing points, and orthogonal lines.

Betty Edward's classic book, "Drawing on the Right Side of the Brain," teaches
artists how to draw and paint perspective from observation. By tracing what you
see in the real world onto a clear viewfinder about 8"x10" held parallel to your
eyes (the picture plane), and then transferring that drawing onto a white sheet of
paper, you can accurately draw what you see, thereby creating the illusion of
three-dimensional space.

Visual Art: Definition & Meaning

"Visual Arts" is a modern but imprecise umbrella term for a broad category of art which includes a number of
artistic disciplines from various sub-categories. Its wide ambit renders meaningless any attempt at
definition, so rather than define or compose some diluted meaning for it, here is a list of its constituent
disciplines. (See also: Types of Art.)

What Does Visual Art Include?

Definitions of visual art usually encompass the following:

1. Fine Arts
All fine art belongs to the general category of visual arts. These include activities such
as: Drawing, Painting, Printmaking and Sculpture, along with associated activities like Graphic art,
Manuscript Illumination, Book Illustration, Calligraphy and Architecture.

2. Contemporary Arts
The visual arts also include a number of modern art forms, such as: Assemblage, Collage, Mixed-
media, Conceptual Art, Installation, Happeningsand Performance art, along with film-based disciplines such
as Photography,Video Art and Animation, or any combination thereof. This group of activities also includes
high tech disciplines like computer graphics and giclee prints. Another modern visual art, is the new
environmental or Land art, which also includes transitory forms like ice/snow sculpture, and
(presumably) graffiti art.
WHAT IS ART?
For an explanation of the
aesthetic issues surrounding
the creative visual arts, see:
Art Definition, Meaning.

TYPES OF ART
For artworks made out of
salvaged materials, see:
Junk Art.
For painting/sculpture made
by artists outside mainstream,
see: Outsider Art.
For works by mental patients
see: Art Brut.

ABSTRACTION
For a general guide to forms
of non-representational art,
see: Abstract Art.
For geometric abstraction,
see: Concrete Art,
or Non-Objective Art.

HOW TO EVALUATE PAINTINGS 3. Decorative Arts & Crafts

Read our article for students and
teachers on appreciation, see: In addition, the general category of visual arts encompasses a number
Art Evaluation: How to Appreciate Art of decorative art disciplines and crafts, including: ceramics and studio
and How To Appreciate Paintings.
pottery,mosaic art, mobiles, tapestry, glass art (including stained glass), and
others.
HISTORY OF VISUAL ARTS
For important dates in the
development of fine art and
other artforms, see:
4. Other
History of Art. Wider definitions of visual art sometimes include applied art areas such as
graphic design, fashion design, and interior design. In addition, new types
IRISH VISUAL ARTS of Body art may also fall under the general heading of visual arts. These
For Irish creative practitioners,
see: Visual Artists Ireland and
include: tatto art, face painting, and body painting.
Ireland Visual Arts.
History of Art Classification

New Profession of Artist

Although various forms of art have been practised for hundreds of millennia,
it is only comparatively recently that the role of the "artist" has emerged.
During Classical Antiquity, as well as the era of Byzantium, Carolingian,
Ottonian, Romanesque and Gothic art, painters and sculptors were treated as
mere artisans - paint-applyers or carvers. Then, during the Renaissance,
thanks to individuals such as Leonardo Da Vinci and Michelangelo, the
profession of "artist" was raised to a new higher level, reflecting the newly
perceived importance of the "design" element - or "disegno". Suddenly,
painters and sculptors had a new unique status - on a par with architects. For
fine artists, this situation has remained largely unchanged to this day, except
that they have now been joined by visual artists involved in installation, video
art, conceptual works, assemblage and the like. Some crafts are also included
under the umbrella of visual art, although most continue to be funded by
"crafts" (rather than "arts") bodies.

Academic Art

From the Renaissance onwards, this new status was also reflected in an
educational system based around a network of Fine Art Academies, that
promulgated a particular form of "academic art". This contained all sorts of
rules about how (mainly) paintings and sculptures were to be created.
Elements such as subject matter, form, message, composition, colour were
quite strictly regulated. Failure to follow the rules meant exclusion from the
prestigious annual art exhibitions organized by the academies. And since
participation in these art shows was often the only way an artist could gain a
reputation, win commissions, and ultimately secure coveted membership of
his national Academy, exclusion meant financial ruin. It wasn't until the 20th
century that the power of the academies began to wane in any significant
sense.

Visual Art Embraces Arts and (Many) Crafts

The 20th century also witnessed a gradual change in attitudes towards the
practice of crafts. Put very simply, up until about 1900, aside from literature
and the "performing arts", the educational and professional establishments
only recognized two basic classes of artistic activity: (1) fine arts - that is,
works created purely for aesthetic reasons, and (2) crafts, that is works with
a utilitarian purpose. (See also Aesthetics.) The former - since Renaissance
times - were created by "artists", the latter by a lower category of
"craftspeople". There was very little justification for this arbitrary distinction
between arts and crafts, as many craftworks were wholly devoid of any
functional purpose and required as much skill as fine art. By encompassing
several "crafts", the category of visual art has helped to remove some of the
barriers between arts and crafts, although many remain.

Visual Art Extended to Include Modern Forms

Another set of changes in our classification and appreciation of art began to

unfold during the early decades of the 20th century. This was due to the
emergence of several new art-forms, such as: collage (from Picasso &
Braque's synthetic Cubism c.1912); assemblage and "found objects" (like the
"readymades" of Marcel Duchamp, 1887-1968); conceptual art (from Marcel
Duchamp's works such as Fountain, 1917, Replica, Tate Collection, London);
Performance art and Happenings (from the Dada antics of Tristan
Tzara (1896-1963) at the Cabaret Voltaire, Zurich, c.1916-20);
photomontage (from works by Dadaists like Raoul Hausmann and Kurt
Schwitters, which used illustrations and advertisement clippings, c.1918-20);
photography and video art (from pioneering work by Man Ray (1890–1976)
and others); animation art (from early 20th century works by American
animators J. Stuart Blackton, Emile Cohl, Winsor McCay and Walt Disney).
New techniques also appeared in traditional fine art disciplines, like painting -
with the invention of acrylic paints, used by David Hockney (b.1937) and
others - and printmaking - with the introduction of silkscreen printing,
famously used by Andy Warhol (1928-87); and with giclee prints.

The Visual Arts Industry

Increasing affluence during the second half of the 20th century has led to
significant extra investment in what has become a major visual arts industry.
In many European countries, tertiary level art colleges now teach a huge
range of subjects to hundreds of thousands of art students. Whole
government departments, with multi-million dollar budgets, are now devoted
to the promotion of visual arts, while even local government authorities
maintain full-time "arts officers" to coordinate activities at local level. This
structure is frequently augmented by state-run agencies (eg. Arts Councils),
whose role is to disperse the increasing number of grants, bursaries,
residencies, special stipends and other types of financial support for visual
artists. In addition, governments are becoming major art patrons by buying
significant quantities of paintings, plastic art and other works, for public
display. New methods of fundraising to support public art have been
developed, such as the Percent For Art scheme in Ireland. Recent cutbacks
notwithstanding, all this demonstrates the enormous scale of the visual art
industry in the 21st century. And even if many full-time artists are still poor,
this is mainly because their numbers have shot up significantly over the past
few decades.