Besides (to get really nit-picky), Michaelangelo was primarily a sculptor and, as such, not a particularly good example of one who was a “master of perspective”. Even in his two famous frescoes, the Sistene Chapel ceiling and “The Last Judgment”, the emphasis is almost entirely on the figures (and they’re almost all foreground) so, while foreshortening of the figures themselves is key (and admittedly very well done), there are few backgrounds or architectural structures to render. A better choice might have been Leonardo and “The Last Supper” (although we’d still have the problem of him pining over Francesca rather than Francisco), or Raphael (but while his “School at Athens” would have been a WONDERFUL example to cite, it doesn’t have a high enough recognition factor).
OK, I’m retiring the Cranky Pants for today. My first post this morning was a spleen-venting about the inherent French inability to ROCK, and that sort of set the tone for subsequent posts…
Besides (to get really nit-picky), Michaelangelo was primarily a sculptor and, as such, not a particularly good example of one who was a “master of perspective”. Even in his two famous frescoes, the Sistene Chapel ceiling and “The Last Judgment”, the emphasis is almost entirely on the figures (and they’re almost all foreground) so, while foreshortening of the figures themselves is key (and admittedly very well done), there are few backgrounds or architectural structures to render. A better choice might have been Leonardo and “The Last Supper” (although we’d still have the problem of him pining over Francesca rather than Francisco), or Raphael (but while his “School at Athens” would have been a WONDERFUL example to cite, it doesn’t have a high enough recognition factor).
OK, I’m retiring the Cranky Pants for today. My first post this morning was a spleen-venting about the inherent French inability to ROCK, and that sort of set the tone for subsequent posts…