OCCLUSION ISSUES IN EARLY RENAISSANCE ART
Barbara Gillam
University of New South Wales
Epiktetos (c 500 BC)
Unknown (third Q 6th C BC)
Unknown (966) New Minster Charter: King Edgar of England: Presenting the Charter to God.
* Early Renaissance
* More naturalistic scenes
* Portraying occlusion and segregation of surfaces become important.
Bartolo di Fredi (c 1395)
- The Adoration of the Magi
Giotto (1303-1305)
1. Reducing confusions due to occlusion*by viewpoint.*by occlusion cues*by placement of objects on ground plane
2. The problem of occlusion of faces and haloes
3. Tolerance of intransitivity of occluding surfaces and impossible figures
Sano di Pietro (1445)
HIGH VIEWPOINT REMOVES SOME CONFUSION.
DUCCIO
(from Maesta completed 1311)
Pieter Bruegel (1559)
Bembo Bonifacio (c 1494)
Occluding surface terminations.
Perceptual rather than cognitive occlusion.
Sienese painter (1482)
Giotto (1303-1305)
Master of occlusion cues.
Gillam & Chan (2002)
Ambrogio Lorenzetti (1342)
Masterly use of ground plane to place figures
Duccio (1308-1311) from the Maesta
Ambrogio Lorenzetti (1342)
Halos surrounding heads reduce confusion.
Duccio (1285) Rucellai Madonna
Duccio
Maesta (1308-1311)
Giotto (1310)
Ognissanti Madonna
Haloes as occludersPhysical objects.
Giotto (1303-1305)
Giotto (1303-1305)
Giotto (1303-1305)
Pietro Lorenzetti (c 1315)
Beato Angelico (c 1431)
Reverse halos
Duccio (1308-1311)
Simone Martini (c 1312 or c 1337)
Guyart des Molins (third Q 14th C)No halos in front
Fra Angelico (c 1440-1442)
Ambrogio Lorenzetti