Inverse perspective in Cézanne's art

Abstract

In a special way, 'Cézanne's wedge' allows the model of inverse perspective to be used for the representation of space and objects in painting. As a bridge between the ancient style of 'dividing' construction and Renaissance perspective, inverse perspective as an important projection model, due to the fact that it represents an object with the minimum of hidden parts, compared to representation in any other system of projection. The optical-physiological properties of the optic apparatus, the fact that we perceive space from two points, inverse perspective, which implies a multiocular view with many binocular pairs of points, are close to natural vision. Popular-culture's need for the sensation of 3D space in a picture separates artistic creativity from the individual expression of the artist, his intuitive geometry and its spirit of revised reality, which are important characteristics of every masterpiece. This paper analyses the inverse perspective and its effects in the representation of space in Cézanne's paintings.

Keywords

• space in painting
• inverse perspective
• cézanne's wedge
• scientific perspective
• view point
• vanishing point