Perspective Analysis of Eustache Le Sueur and His Paintings

Authors

DOI:

https://doi.org/10.51596/sijocp.v3i2.51

Keywords:

Eustache Le Sueur, painting, perspective, depth

Abstract

Eustache Le Sueur, a 17th-century French painter, is celebrated for his contributions to the Baroque movement. His artistry, profoundly influenced by Italian masters like Raphael and Poussin, is epitomised in "The Life of Saint Bruno", a series detailing the Carthusian founder's life. Notably, Sueur's exceptional skill in perspective use is a hallmark of his work. Perspective in art, the technique to create depth and distance illusions on a flat surface, was adeptly wielded by Sueur. He often employed "linear perspective", a method establishing a vanishing point with diverging lines, thus creating depth perception.

This approach not only imparted a three-dimensional feel but also infused his paintings with dynamism and drama. By varying object size and placement, he enhanced the narrative and emotional intensity of his scenes. Sueur's mastery of perspective significantly contributes to his enduring legacy. His innovative use of this technique achieved depth and brought vibrancy and energy to his compositions. Today, his influence persists in modern painting, underscoring his pivotal role in the Baroque era and the enduring significance of his perspective techniques.

Author Biography

Handan Sabriye Yaman, Lecturer, Mehmet Akif Ersoy University, Turkey

She graduated from Gazi University Industrial Product Design Department in 2014. In 2017, he started his master’s degree in art and design at Akdeniz University. She completed his thesis in an interdisciplinary field and began to produce studies in this field. In 2020, she entered academic life as a lecturer in the Department of Computer-Aided Design and Animation at Mehmet Akif Ersoy University Bucak Emin Gülmez Vocational School of Technical Sciences. In 2020, she started the Proficiency in Art program in the Department of Art and Design at Akdeniz University. She is currently continuing his Proficiency in Art program.

References

Andries, A. (2019). Uniting the arts to stage the nation: le sueur's ossian (1804) in Napoleonic Paris. Cambridge Opera Journal, 31(2-3), 153-187. https://doi.org/10.1017/s095458672000004x

Castilla, M. (2021). The cultural heritage of architectural linear perspective: the mural paintings in Nantang church. Heritage, 4(3), 1773-1785. https://doi.org/10.3390/heritage4030099.

Cicco, F., Wijntjes, M., & Pont, S. (2019). Understanding gloss perception through the lens of art: combining perception, image analysis, and painting recipes of 17th century painted grapes. Journal of Vision, 19(3), 7. https://doi.org/10.1167/19.3.7

Coorevits, E. and Moelants, D. (2016). Tempo in baroque music and dance. Music Perception, 33(5), 523-545. https://doi.org/10.1525/mp.2016.33.5.523

Crucq, A. (2021). Viewing-patterns and perspectival painting: an eye-tracking study on the effect of the vanishing point. Journal of Eye Movement Research, 13(2). https://doi.org/10.16910/jemr.13.2.15

Danan, J. (2021). Qu’est-ce qu’une approche dramaturgique d’un texte de théâtre ?. Pratiques, (191-192). https://doi.org/10.4000/pratiques.10990

Derks, K., Snickt, G., Legrand, S., Stighelen, K., & Janssens, K. (2022). The dark halo technique in the oeuvre of Michael sweets and other Flemish and Dutch baroque painters. a 17th c. empirical solution to mitigate the optical ‘simultaneous contrast’ effect? Heritage Science, 10(1). https://doi.org/10.1186/s40494-021-00634-w

Erkelens, C. (2016). Equidistant intervals in perspective photographs and paintings. I-Perception, 7(4), 204166951666266. https://doi.org/10.1177/2041669516662666

Erkelens, C. (2020). Perspective on Canaletto’s paintings of Piazza San Marco in Venice. Art & Perception, 8(1), 49-67. https://doi.org/10.1163/22134913-20191131

Getty. 2023. Marine Gods Paying Homage to Love. Retrieved: https://www.getty.edu/art/collection/object/103RCP

Go, J. (2013). Decolonizing Bourdieu. Sociological Theory, 31(1), 49-74. https://doi.org/10.1177/0735275113477082

Geyh, P. (2001). Triptych time: the experimental historiography of Meridel le Sueur's The Dread Road. Criticism, 43(1), 81-101. https://doi.org/10.1353/crt.2001.0004

Guay, H. (2011). De la polyphonie hétéromorphe à une esthétique de la divergence. L’annuaire Théâtral Revue Québécoise D’études Théâtrales, (47), 15-36. https://doi.org/10.7202/1005613ar

Lazzeri, D., Castello, M., Grassetti, L., Dashti, T., Yx, Z., & Persichetti, P. (2015). Foot deformities in Renaissance paintings. a mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters. The Journal of the Royal College of Physicians of Edinburgh, 45(4), 289-297. https://doi.org/10.4997/jrcpe.2015.409

Le Sueur E. 2023. Eustache Le Sueur. Retrieved: https://fr.wikipedia.org/wiki/Eustache_Le_Sueur.

Li, W. (2019). Innovative exuberance: fluctuations in the painting production in the 17th-century Netherlands. Arts, 8(2), 72. https://doi.org/10.3390/arts8020072

Louvre. 2023. Dédicace d'une église de chartreux. Retrieved: https://collections.louvre.fr/en/ark:/53355/cl010066447.

Louvre. 2023. Le Retour de Tobie. Retrieved: https://collections.louvre.fr/en/ark:/53355/cl010062909#.

Louvre. 2023. Vénus présente l'Amour à Jupiter. Retrieved: https://collections.louvre.fr/en/ark:/53355/cl010060639.

Pepperell, R. and Haertel, M. (2014). Do artists use linear perspective to depict visual space? Perception, 43(5), 395-416. https://doi.org/10.1068/p7692

Rabin, S. (2018). Before Copernicus: the cultures and contexts of scientific learning in the fifteenth century. Rivka Feldhay and F. Jamil Ragep, eds. mcgill-queen’s studies in the history of ideas 71. Montreal and Kingston: Mcgill-Queen’s University Press, 2017. Renaissance Quarterly, 71(3), 1081-1083. https://doi.org/10.1086/700459

Russo, P. (1994). Visions of medea: musico-dramatic transformations of a myth. Cambridge Opera Journal, 6(2), 113-124. https://doi.org/10.1017/s0954586700004201

Ruta, N., Burleigh, A., & Pepperell, R. (2022). Space and scale in medieval painting reflect imagination and perception. Gestalt Theory, 44(1-2), 61-78. https://doi.org/10.2478/gth-2022-0006

Sasso, V., Pérez, G., Valero, L., Martínez-Ramírez, S., Guerrero, A., & Vicioso, E. (2021). Physical and chemical characterisation of the pigments of a 17th-century mural painting in the Spanish Caribbean. Materials, 14(22), 6866. https://doi.org/10.3390/ma14226866

Schmid, M. (2021). Baroque visions: eugène green's la sapienza (2014). The Modern Language Review, 116(3), 428-444. https://doi.org/10.1353/mlr.2021.0066

Sterling, C. (1965). Eustache le sueur peintre de portraits., 181-184. https://doi.org/10.1515/9783112414606-018

Tkachuk, I., Lysun, Y., Hrynda, B., Shymin, Y., & Yankovska, D. (2021). Illusionism in sacred monumental painting of the baroque era, optics of perception. Linguistics and Culture Review, 5(S4), 1270-1287. https://doi.org/10.21744/lingcure.v5ns4.1777

Turan S. 2016. Double Escape Point Perspective. Uludag University Faculty of Education Pedagogical Formation Education Program Painting-Business Education Department Lesson Plan, Bursa.

Öznülüer, H. (2019). From the High Renaissance to the Modern Period, the Position of the Figure in Space, Journal of the Institute of Social Sciences of Erzincan University, Year 12, Issue 1, ss. 160-176.

Downloads

Published

2023-12-29

How to Cite

Yaman, H. S. (2023). Perspective Analysis of Eustache Le Sueur and His Paintings. SPACE International Journal of Conference Proceedings , 3(2), 9–19. https://doi.org/10.51596/sijocp.v3i2.51