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- W2078012318 abstract "William Shakespeare, who only occasionally speaks of the fine art of painting, alludes in Richard II (1595–96) to an unusual genre little known today, but evidently a popular novelty in Renaissance England. When he writes of “perspectives, which rightly gazed upon, show nothing but confusion—eyed awry, distinguish form,” he refers to the curious art of anamorphic perspective, a type of picture that requires the beholder to view it from an oblique angle, rather than head on as one usually looks at a picture. In such a work, pleasure and surprise result when a confused, perplexing image—for so it appears when “rightly gazed upon”—suddenly assumes a proper form before one's eyes as one discovers the correct angle from which to view it. And frequently the fugitive image reveals a hidden meaning. It is widely believed that Shakespeare was responding to an anamorphosis of the distorted type,1 the elongated portrait of Edward VI in the National Portrait Gallery, London (Figs. 1 and 2), which was located at Whitehall when the poet performed there in 1591–92.2 But a careful reading of the elaborate speech suggests a different kind of “perspective” altogether, one divided into many separate parts, which appear “entire” only when viewed “awry.”" @default.
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- W2078012318 date "1977-03-01" @default.
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- W2078012318 title "“Turning Pictures” in Shakespeare's England" @default.
- W2078012318 doi "https://doi.org/10.1080/00043079.1977.10787371" @default.
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