atmospheric perspective การใช้

• The Synchromists avoided using atmospheric perspective or line, relying solely on color and shape to express form.
• This effect, long recognized by Leonardo da Vinci and other painters, is called aerial perspective or atmospheric perspective.
• The distant landscape on this page is a masterly exercise in atmospheric perspective, one of the chief lessons learned from European art.
• "' Aerial perspective "'or "'atmospheric perspective "'refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance.
• Although the islands lie within the tropics, they are the first major break in the prevailing easterly winds spawned from the extraordinarily dry ( from an atmospheric perspective ) Humboldt Current.
• Though the islands lie within the tropics, they are the first major break in the prevailing easterly winds that spawn from the extraordinarily dry ( from an atmospheric perspective ) Humboldt Current.
• Atmospheric perspective was used in Pompeian Second Style paintings, one of the Pompeian Styles, dating as early as 30 BCE . A notable example is the Gardenscape from the Villa of Livia in Primaporta, Italy.
• The main features of the composition include a symmetrical focal point with atmospheric perspective around the subject, a radial balance of light arranged around a central element, and dramatic contrasts with dark colours in the periphery.
• At that show, and with his remaining paintings of the period, one can note that the atmospheric perspective and vibrant colors of his landscapes of Massachusetts, Giverny, and Venice demonstrate not only his great talent as a landscape artist but his integration into the great artistic movement of impressionism.
• The " universal genius " Leonardo da Vinci was to further perfect the aspects of pictorial art ( lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation ) that had preoccupied artists of the Early Renaissance, in a lifetime of studying and meticulously recording his observations of the natural world.
• In the sixteen large paintings, the artists, although each working in his individual style, agreed on principals of format, and utilised the techniques of lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation that had been carried to a high point in the large Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.
• While many of Waterloo's larger etchings and drawings ( some almost the size of his paintings ) are careful in their depiction of the smallest, individual detail, his smaller drawings of mountain valley views often feature an impressionistic group of forms as atmospheric perspective leads the eye into the hilly distance along a characteristically Baroque zig-zag course.