Editing Depth perception (section)

== In art ==
{{Unreferenced section|date=July 2012}}
[[Photograph]]s capturing perspective are two-dimensional images that often illustrate the illusion of depth. Photography utilizes size, environmental context, lighting, textural gradience, and other effects to capture the illusion of depth.<ref>{{Cite news|url=http://photopigs.com/2018/02/12/visual-depth-cues/|title=Eight visual cues to perfect compositional depth and legibility|date=2018-02-12|work=photopigs|access-date=2018-04-12|language=en-US}}</ref> [[Stereoscope]]s and [[Viewmaster]]s, as well as [[3D film]]s, employ binocular vision by forcing the viewer to see two images created from slightly different positions (points of view). [[Charles Wheatstone]] was the first to discuss depth perception being a cue of binocular disparity.<ref>{{Cite journal |last=Brooks |first=Kevin R. |date=January 2017 |title=Depth Perception and the History of Three-Dimensional Art: Who Produced the First Stereoscopic Images? |journal=i-Perception |language=en |volume=8 |issue=1 |pages=204166951668011 |doi=10.1177/2041669516680114 |issn=2041-6695 |pmc=5298491 |pmid=28203349}}</ref> He invented the stereoscope, which is an instrument with two eyepieces that displays two photographs of the same location/scene taken at relatively different angles. When observed, separately by each eye, the pairs of images induced a clear sense of depth.<ref>{{cite book |last=Schacter |first=Daniel L. |title=Psychology |edition=2nd |location=New York |publisher=Worth, In. |year=2011 |page=151}}</ref> By contrast, a [[telephoto lens]]—used in televised sports, for example, to zero in on members of a stadium audience—has the opposite effect. The viewer sees the size and detail of the scene as if it were close enough to touch, but the camera's perspective is still derived from its actual position a hundred meters away, so background faces and objects appear about the same size as those in the foreground.

Trained artists are keenly aware of the various methods for indicating spatial depth (color shading, [[distance fog]], [[Perspective (visual)|perspective]] and relative size), and take advantage of them to make their works appear "real". The viewer feels it would be possible to reach in and grab the nose of a [[Rembrandt]] portrait or an apple in a [[Cézanne]] still life—or step inside a landscape and walk around among its trees and rocks.

[[Cubism]] was based on the idea of incorporating multiple points of view in a painted image, as if to simulate the visual experience of being physically in the presence of the subject, and seeing it from different angles. The radical experiments of [[Georges Braque]], [[Pablo Picasso]], [[Jean Metzinger]]'s ''[[Nu à la cheminée]]'',<ref>Daniel Robbins, ''Jean Metzinger: At the Center of Cubism'', 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, p. 22</ref> [[Albert Gleizes]]'s ''[[La Femme aux Phlox]]'',<ref name="Robbins 1964">[https://openlibrary.org/books/OL5921018M/Albert_Gleizes_1881–1953 ''Albert Gleizes 1881–1953, a retrospective exhibition'', Daniel Robbins. The Solomon R. Guggenheim Museum, New York, in collaboration with Musée national d'art moderne, Paris; Museum am Ostwall, Dortmund, published 1964]</ref><ref name="Brooke, Gleizes">[http://www.peterbrooke.org.uk/a%26r/a%26rintro Peter Brooke, ''Albert Gleizes, Chronology of his life, 1881–1953'']</ref> or [[Robert Delaunay]]'s [[Eiffel Tower (Delaunay series)|views of the Eiffel Tower]],<ref name=kh>Robert Delaunay – Sonia Delaunay, 1999, {{ISBN|3-7701-5216-6}}</ref><ref>[https://books.google.com/books?id=_D5QAAAAMAAJ&q=%22Cubism+was+in+full+force%22 Robert Delaunay, First Notebook, 1939, in The New Art of Color: The Writings of Robert and Sonia Delaunay, Viking Press, 1978]</ref> employ the explosive angularity of Cubism to exaggerate the traditional illusion of three-dimensional space. The subtle use of multiple points of view can be found in the pioneering late work of Cézanne, which both anticipated and inspired the first actual Cubists. Cézanne's landscapes and still lives powerfully suggest the artist's own highly developed depth perception. At the same time, like the other [[Post-Impressionist]]s, Cézanne had learned from [[Japanese art]] the significance of respecting the flat (two-dimensional) rectangle of the picture itself; [[Hokusai]] and [[Hiroshige]] ignored or even reversed linear perspective and thereby remind the viewer that a picture can only be "true" when it acknowledges the truth of its own flat surface. By contrast, European "academic" painting was devoted to a sort of [[Big Lie]] that the surface of the canvas is ''only'' an enchanted doorway to a "real" scene unfolding beyond, and that the artist's main task is to distract the viewer from any disenchanting awareness of the presence of the painted canvas. [[Cubism]], and indeed most of [[modern art]] is an attempt to confront, if not resolve, the paradox of suggesting spatial depth on a flat surface, and explore that inherent contradiction through innovative ways of seeing, as well as new methods of drawing and painting.