WEEK 2 | MATH + ART | πΌ
Understanding the essence of science and math allows artists to be able to create pieces of art that were once merely ideas. In Vesna’s lecture on mathematic history, Professor Vesna emphasized how geometric and algebraic fundamentals influenced renaissance artists. For instance, representing 3D space on 2D canvas was a challenge until Brunelleschi perfected a formula to use linear perspective through the usage of a single vanishing point. Using foundational math concepts like vertexes, intersections, angles, and planes, Brunelleschi was able to use math to calculate and create a tool for future artists to use to create impressions of depths.
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| A box in one-point perspective (Frantz)
The figure above shows an example of a one-point perspective. V represents the vanishing point or the fixed single point, which Brunelleschi discovered. In this image, we also see other mathematical factors that contribute to something as simple as a box located close distance to the viewer such as parallel lines, and measurements of the edges (Frantz 3-4). As mentioned in lecture, Piero della Francesca expressed the importance of science and math in art to be able to incorporate aspects like proportion, forms, perspective, and angles (Vesna). 
Da Vinci’s usage of linear perspective helped me understand how much influence mathematics had during the creation of The Last Supper. The Last Supper has always had importance and recurring presence in my life as a Catholic, but never did it cross my mind that there is math behind it. The mathematical discovery of vanishing points opened up a whole new door and was a huge influence for artists like Da Vinci by providing a tool for artists to expand their creativity and experiment with eye levels. Da Vinci’s usage of one-point perspective is critical to The Last Supper because he used it to emphasize the central position of Jesus Christ all while being able to correctly produce proportional sizes of the table, the windows, and the 12 disciples surrounding Jesus Christ (Yanni). Artist demonstrates the usage of linear perspective I wasn’t aware of how prominent math is in art because using a ruler was the only math I was introduced to when I took art classes in my K-12 education like in the video (Rose). The collaboration between scientific and artistic language allows for any misunderstandings to be solved and brings about discourse regarding furthering the one-point perspective system into bold ideas like the 4th dimension (Henderson). These creative artistic theories can be supported through science and vice versa. Citations |
Frantz, Marc. "Vanishing Points and Viewpoints." Viewpoints: Mathematical Perspective and Fractal Geometry in Art. Princeton UP, 2000. Print.
Henderson, Linda Dalrymple. "The Fourth Dimension and Non-Euclidean Geometry in Modern Art: Conclusion." Leonardo 17.3 (1984): 205. Print. Rose, Michael. "Leonardo Da Vinci's "Last Supper" Part 1." YouTube. YouTube, 27 Apr. 2021. Web. 6 Apr. 2022. Vesna, Victoria. "Mathematics Zero Perspective Golden Mean (part 1)." Lecture. 9 Apr. 2012, UCLA, Los Angeles, California. Class lecture. Yanni, Leila. "Perspective Lines in the Last Supper." COVE. 21 May 2019. Web. 6 Apr. 2022. |
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Informative post, Jennifer! I appreciate your dive into perspective as it is something that I have had little exposure to due to my distance from the arts. As I grapple with the idea of adding in the appearance of dimensions as proposed in allegories like Flatland or the theories of superstring scientists, I am wondering how visual distance would factor into illusions with higher dimensions? (Where a vanishing point is where two parallel lines are thought to meet in the distance, is there such thing as a "vanishing intersection" when two planes meet?) I am also pleased to see that you looked into Da Vinci's "Last Supper" as I, too, posted about this due to my Catholic background. It's funny how I watched several videos on the use of geometry in this painting, yet I did not come across the one that you included! Regardless, you and I both seem to hold similar fascination in how the characters and objects in the room are painted with an intentional nod to their perspective and proportions. Finally, you raise an interesting point regarding the appartus that we were afforded in our early school years; I wonder whether we would an elevated level of appreciation for dimensions and perspectives if we were afforded modeling technologies rather than mere rulers and protractors.
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