. Perspective for art students . ht, or greatest a picture we usually stand notnearer than twice its diagonal fromit, perhaps not nearer than three timesthat measurement. Sometimes artistspaint their pictures from pointsnearer to the picture than the spec-tators generally stand. When this isthe case there is some loss of realityon the spectators part. If the pictureis one of rigid perspective, as in archi-tectural subjects, rooms, streets, andthe like, the outer parts of the picturelook distorted, till the spectator getsinto the correct position. For geome-trical perspective is
. Perspective for art students . ht, or greatest a picture we usually stand notnearer than twice its diagonal fromit, perhaps not nearer than three timesthat measurement. Sometimes artistspaint their pictures from pointsnearer to the picture than the spec-tators generally stand. When this isthe case there is some loss of realityon the spectators part. If the pictureis one of rigid perspective, as in archi-tectural subjects, rooms, streets, andthe like, the outer parts of the picturelook distorted, till the spectator getsinto the correct position. For geome-trical perspective is a faultless science,and distorted pictures are only such solong as they are not viewed at theproper distance. It is consequently a great mistake to draw the perspective from a point impracticably near. Dlirer did so in his beautiful print St. Jerome in his Cell. The loss of reality is very great in that fine is better to take a distance too remote than too near. Commonly it is said that comfortable vision is limited to. mx^./^ HL
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