paris

Georges Rousse

Farideh Cadot Associés

Perhaps the most significant esthetic innovation of the early Renaissance was the emergence of perspective as the central tenet of European art. Instead of a flat picture plane on which religious subjects were arranged hierarchically beneath an all-seeing God, “reality” was focused on the eye of the beholder as if it were a beam of light. Esthetics, paralleling the simultaneous rise of humanism and merchant capitalism, came to express a reciprocal relationship between the timelessness of the image and the fixed position of the viewer.

The subsequent invention of the camera (film theoretician Dziga Vertov’s roving mechanical “I”) destroyed perspective’s hegemony by freeing time and space from the dictates of the human eye. By moving the camera, reality could change relative to the viewer’s position, becoming infinitely mutable, a phenomenological revolution that both Impressionists and

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