# Aspects of perspective and ambiguous space in the work of M.C. Escher

 dc.contributor.author Mathlener, Rinette dc.date.accessioned 2011-11-14T14:26:42Z dc.date.available 2011-11-14T14:26:42Z dc.date.created 2011 dc.date.issued 2009 dc.description.abstract Cartographers, mathematicians and artists discovered many of the rules for linear perspective before the Renaissance, but the mathematical basis to represent objects three-dimensionally was developed only in the 15th century. Brunelleschi was the first to demonstrate geometric perspective with his famous experiments in 1425. The humanist Alberti recorded the geometrical principles for creating three-dimensional space on a two-dimensional surface during 1435. This was, in other words, the tools to translate mental vision onto paper. The fact that, in human vision, the parallel lines from the edges of objects converge at an infinite point (the vanishing point) on the horizon, is an illusion. Escher wanted to make concrete representations of infinity and he used traditional perspective to create impossible worlds. en_US dc.description.abstract Die ontwikkeling van perspektief en die gebruik daarvan in die werk van M.C. Escher. Kartograwe, wiskundiges en kunstenaars het sommige van die reëls vir lineêre perspektief intuïtief ontdek, maar die wiskundige gronde vir drie-dimensionele voorstelling is eers tydens die 15de eeu ontdek. Brunelleschi het tydens 1425 meetkundige perspektief gedemonstreer met behulp van sy bekende eksperimente. Die humanis Alberti het tydens 1435 die meetkundige beginsels vir die voorstelling van drie-dimensionele ruimte op ‘n twee-dimensionele oppervlakte gedokumenteer. Hierdie beginsels was die metode waarvolgens die kognitiewe visie omgesit word in ‘n voorstelling op papier. Die feit (volgens menslike visie) dat die ewewydige lyne vanaf die rand van voorwerpe by ‘n oneindige punt (die verdwyningspunt) op die horison konvergeer, is ‘n illusie. Escher wou konkrete voorstellings van oneindigheid maak en hy het tradisionele perspektieftekening gebruik om ‘n onmoontlike wêreld te skep. en_US dc.format.extent 18 pages en_US dc.format.medium PDF en_US dc.identifier.citation Mathlener, R 2009, 'Aspects of perspective and ambiguous space in the work of M.C. Escher', South African Journal of Art History, vol. 24, no. 2, pp 96-113. [http://www.journals.co.za/ej/ejour_sajah.html] en_US dc.identifier.issn 0258-3542 dc.identifier.uri http://hdl.handle.net/2263/17575 dc.language.iso en en_US dc.publisher Art Historical Work Group of South Africa en_US dc.rights Art Historical Work Group of South Africa en_US dc.subject Art en_US dc.subject Linear perspective en_US dc.subject Vanishing point en_US dc.subject Horizon line en_US dc.subject Zenith en_US dc.subject Nadir en_US dc.subject Escher, Maurits Cornelis, 1898–1972 en_US dc.subject.lcsh Art -- History -- 20th century en dc.subject.lcsh Perspective en dc.subject.lcsh Three-dimensional imaging en dc.subject.lcsh Horizon en dc.subject.lcsh Zenith distance en dc.subject.lcsh Escher, Maurits Cornelis, 1898–1972 -- Criticism and interpretation en dc.subject.lcsh Metamathematics en dc.subject.lcsh Symmetry (Art) en dc.title Aspects of perspective and ambiguous space in the work of M.C. Escher en_US dc.type Article en_US
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