Professor White's historical study of the rediscovery of pictorial space during the Renaissance and of its origins in antiquity was acclaimed when it first appeared. It opened up important new avenues of research and exploration. It has remained a seminal work, and he has now brought it fully up to date for a third edition. He has included a substantial new appendix on Leonardo, Brunelleschi and the viewing distance.

No artist, critic, or art historian disputes the importance of recording how and why our conceptions and methods of depicting pictorial space have changed from ancient to modern times, and yet no previous book has provided a comprehensive history centered around these changing images of pictorial space and the ways in which their evolution reflects ideological changes in society. Dunning traces the two thousand year evolution of the conception and the depiction of space in European (primarily Italian and French) and American painting. Unraveling one illusory image after another into their particular elements, he explains the development of new styles and images in painting as a continuous rearrangement of these basic elements. Following this progression through the Greco-Roman period, the Italian Renaissance, impressionism, and the end of modern art, the author concludes with today's postmodern concentration on linguistic aspects in painting, a change from the former emphasis on space and illusion. Changing Images of Pictorial Space, with over forty illustrations, will be of interest to a wide audience—from art historians, painters, and art educators to general readers who wish to understand more about one of the central organizing principles in all schools and periods of art.

Professor White's historical study of the rediscovery of pictorial space during the Renaissance and of its origins in antiquity was acclaimed when it first appeared. It opened up important new avenues of research and exploration. It has remained a seminal work, and he has now brought it fully up to date for a third edition. He has included a substantial new appendix on "Leonardo, Brunelleschi and the viewing distance". John White is Pro-Provost for External Affairs and formerly Professor of History of Art at University College London. This book is intended for students of history of art and of the Rennaissance.

Varieties of Realism argues that it is not possible to represent the layout of objects and surfaces in space outside the dictates of formal visual geometry, the geometry of natural perspective. The book examines most of the world's coherent representational art styles, both in terms of the geometry of their creation and in terms of their perceptual effects on the viewer. A lucid exposition of modern geometrical principles and relations, accessible to the nonmathematical reader, is followed by an analysis of all known styles as variants of natural perspective, as true varieties of realism. Delineating the physical and mechanical constraints that determine the act of visual representation in painting and drawing, the author traces the intimate relations among seemingly distant styles and considers the kind of perceptual information about the world each can carry. Margaret Hagen is a perceptual psychologist with an ecological point of view. Her rigorous but readable presentation of visual theory and research offers provocative new insights into the connections among vision, geometry, and art.

What do Renaissance poetry and painting have in common? What are the social, ideological, and aesthetic bases for the links between them? And what role do those links play in creating the humanistic culture that still has power over us today? These are the questions Clark Hulse takes up in this sophisticated interdisciplinary study of Renaissance aesthetics. Proposing an archeology of artistic knowledge, Hulse examines the theoretical language through which the poets, painters, and patrons of the Renaissance conceived of the relationship between the arts. That language is embedded in what he calls a "rule of art," a specific set of categories, assumptions, and practices that defined the two art forms and the relationship between them. Hulse charts the rise of both forms to the status of liberal arts requiring special intellectual training for artist and patron alike. In the process, he uncovers the history of the practice of theory in the Renaissance, revealing how artistic discourse lived in the world.