Renaissance linear perspective implemented the ideal of penetrating a single true depth

Evidence

The ideai of imitation presupposed that beneath the appearance of things, but basic to thern, there lay the same “depth,” sorne indubitable truth, led to primarily by the sciences and more closely represented in art, to the extent that these representations systematized their reproductions of reality and recognized the legitimacy of its aesthetic. Thus, the revolution in perspective in paintings from the beginnings of the Quattrocento was conceived of as moving toward this depth. — Édouard Glissant, Poetics of Relation, 425

Categorization

• XREF: Connects to Erwin Panofsky’s reading of perspective as symbolic form, and ties to the reader’s detour-vs-depth thread. — connects to: Postmodern architecture achieves depth-suppression through immersive space that abolishes perspective — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 142; Every object appears against an undifferentiated ground and in a chosen but given perspective
• QUESTION: Does Glissant see the Quattrocento perspective ‘toward depth’ as the exact visual analogue of strategic essentialism’s finalizing claim?

Broader Connections

• Postmodern architecture achieves depth-suppression through immersive space that abolishes perspective #contradicts (0.85) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 142
• Every object appears against an undifferentiated ground and in a chosen but given perspective #contradicts (0.70)