Julie Mehretu. Dispersion. 2002. Ink and acrylic on canvas. 90 × 144 in. Courtesy of the artist and The Project Gallery - New York and Los Angeles. [Fig. 5-1] Julie Mehretu. Dispersion. 2002. Ink and acrylic on canvas. 90 × 144 in. Courtesy of the artist and The Project Gallery - New York and Los Angeles. [Fig. 5-1]

Donald Sultan. Lemons, May 16, 1984. 1984 Donald Sultan. Lemons, May 16, 1984. 1984. Latex, tar on vinyl tile over wood. 97 × 97-1/2 in. Virginia Museum of Fine Arts, Richmond. Gift of The Sydney and Frances Lewis Foundation. Photograph: Katherine Wetzel, © Virginia Museum of Fine Arts. [Fig. 5-2] Donald Sultan. Lemons, May 16, 1984. 1984. Latex, tar on vinyl tile over wood. 97 × 97-1/2 in. Virginia Museum of Fine Arts, Richmond. Gift of The Sydney and Frances Lewis Foundation. Photograph: Katherine Wetzel, © Virginia Museum of Fine Arts. [Fig. 5-2]

Rubin vase. Line art. [Fig. 5-3]

Martin Puryear. Self. 1978. Polychromed red cedar and mahogany Martin Puryear. Self. 1978. Polychromed red cedar and mahogany. 69 × 48 × 25 in. Joslyn Art Museum, Omaha, Nebraska. [Fig. 5-4] Martin Puryear. Self. 1978. Polychromed red cedar and mahogany. 69 × 48 × 25 in. Joslyn Art Museum, Omaha, Nebraska. [Fig. 5-4]

Barbara Hepworth. Two Figures. 1947-48. Elmwood and white paint Barbara Hepworth. Two Figures. 1947-48. Elmwood and white paint. 38 × 17 in. Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. The John Rood Sculpture Collection. 1962.12. [Fig. 5-5] Barbara Hepworth. Two Figures. 1947-48. Elmwood and white paint. 38 × 17 in. Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. The John Rood Sculpture Collection. 1962.12. [Fig. 5-5]

Feast-making spoon (Wunkirmian), Liberia/Ivory Coast, Dan. 20th century. Wood and iron. height 24-1/4 in. The Seattle Art Museum. Gift of Katherine C. White and the Boeing Company, 81.17.204 © abm - archives barbier-mueller-studio Ferrazzini-Bouchet, Geneve. [Fig. 5-6] Feast-making spoon (Wunkirmian), Liberia/Ivory Coast, Dan. 20th century. Wood and iron. height 24-1/4 in. The Seattle Art Museum. Gift of Katherine C. White and the Boeing Company, 81.17.204 © abm - archives barbier-mueller-studio Ferrazzini-Bouchet, Geneve. [Fig. 5-6]

Nave, Reims Cathedral. View to the west. begun 1211; nave c. 1220 Nave, Reims Cathedral. View to the west. begun 1211; nave c. 1220. Courtesty Getty Research Institute. [Fig. 5-7] Nave, Reims Cathedral. View to the west. begun 1211; nave c. 1220. Courtesty Getty Research Institute. [Fig. 5-7]

Olafur Eliasson. Suney. 1995. Installation view at the Kunstlerhas Stuttgart, Germany. Courtesy of the artist. Photo: Marcus Keibel. [Fig. 5-8] Olafur Eliasson. Suney. 1995. Installation view at the Kunstlerhas Stuttgart, Germany. Courtesy of the artist. Photo: Marcus Keibel. [Fig. 5-8]

Steve DiBenedetto. Deliverance. 2004. Colored pencil on paper Steve DiBenedetto. Deliverance. 2004. Colored pencil on paper. 30-1/8 22-1/2 in. Courtesy of David Nolan Gallery, New York, Private Collection, New York. [Fig. 5-9] Steve DiBenedetto. Deliverance. 2004. Colored pencil on paper. 30-1/8 22-1/2 in. Courtesy of David Nolan Gallery, New York, Private Collection, New York. [Fig. 5-9]

Beverly Buchanan. Ms. Mary Lou Furcron’s House, deserted. 1989 Beverly Buchanan. Ms. Mary Lou Furcron’s House, deserted. 1989. Ektacolor print. 16 × 20 in. Courtesy Steinbaum Krauss Gallery, NYC. [Fig. 5-10] Beverly Buchanan. Ms. Mary Lou Furcron’s House, deserted. 1989. Ektacolor print. 16 × 20 in. Courtesy Steinbaum Krauss Gallery, NYC. [Fig. 5-10]

Beverly Buchanan. Richard’s Home. 1993 Beverly Buchanan. Richard’s Home. 1993. Wood, oil crayon, and mixed media. 78 × 16 × 21 in. Photo by Adam Reich. Collection: Barbara and Eric Dobkin. Courtesy Steinbaum Krauss Gallery, Miami, Florida. [Fig. 5-11] Beverly Buchanan. Richard’s Home. 1993. Wood, oil crayon, and mixed media. 78 × 16 × 21 in. Photo by Adam Reich. Collection: Barbara and Eric Dobkin. Courtesy Steinbaum Krauss Gallery, Miami, Florida. [Fig. 5-11]

Beverly Buchanan. Monroe County House with Yellow Datura. 1994 Beverly Buchanan. Monroe County House with Yellow Datura. 1994. Oil pastel on paper. 60 × 79 in. Photo by Adam Reich. Collection of Bernice and Harold Steinbaum. Courtesy of Bernice Steinbaum Gallery, Miami, Florida. [Fig. 5-12] Beverly Buchanan. Monroe County House with Yellow Datura. 1994. Oil pastel on paper. 60 × 79 in. Photo by Adam Reich. Collection of Bernice and Harold Steinbaum. Courtesy of Bernice Steinbaum Gallery, Miami, Florida. [Fig. 5-12]

One-point linear perspective. Left: frontal recession, street level One-point linear perspective. Left: frontal recession, street level. Right: diagonal recession, elevated position. Line art. [Fig. 5-13] One-point linear perspective. Left: frontal recession, street level. Right: diagonal recession, elevated position. Line art. [Fig. 5-13]

Duccio. Annunciation of the Death of the Virgin, from the Maestà Altarpiece (perspective analysis). 1308-1311. Tempera on panel. 16-3/8 × 21-1/4 in. Canali Photobank, Milan, Italy. [Fig. 5-14] Duccio. Annunciation of the Death of the Virgin, from the Maestà Altarpiece (perspective analysis). 1308-1311. Tempera on panel. 16-3/8 × 21-1/4 in. Canali Photobank, Milan, Italy. [Fig. 5-14]

Leonardo da Vinci. The Last Supper. c. 1495–98 Leonardo da Vinci. The Last Supper. c. 1495–98. Mural (oil and tempera on plaster). 15 ft. 1-1/8 in. × 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-15] Leonardo da Vinci. The Last Supper. c. 1495–98. Mural (oil and tempera on plaster). 15 ft. 1-1/8 in. × 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-15]

Leonardo da Vinci. Perspective analysis of Leonardo da Vinci, The Last Supper. c. 1495–98. Mural (oil and tempera on plaster). 16 ft. 1-1/8 in. × 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-16] Leonardo da Vinci. Perspective analysis of Leonardo da Vinci, The Last Supper. c. 1495–98. Mural (oil and tempera on plaster). 16 ft. 1-1/8 in. × 28 ft. 10-1/2 in. Refectory, Monastery of Santa Maria delle Grazie, Milan, Italy. Index Ricerca Iconografica. Photo: Ghigo Roli. [Fig. 5-16]

Two-point linear perspective. Line art. [Fig. 5-17]

Gustave Caillebotte. Place de l’Europe on a Rainy Day. 1876-1877 Gustave Caillebotte. Place de l’Europe on a Rainy Day. 1876-1877. Oil on canvas. 83-1/2 × 108-3/4 in. Charles H. and Mary F. S. Worcester Collection, 1964.336. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 5-18] Gustave Caillebotte. Place de l’Europe on a Rainy Day. 1876-1877. Oil on canvas. 83-1/2 × 108-3/4 in. Charles H. and Mary F. S. Worcester Collection, 1964.336. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 5-18]

Gustave Caillebotte. Perspective analysis of Gustave Caillebotte, Place de l’Europe on a Rainy Day. 1876-1878. Oil on canvas. 83-1/2 × 108-3/4 in. Charles H. and Mary F. S. Worcester Collection, 1964.336. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 5-19] Gustave Caillebotte. Perspective analysis of Gustave Caillebotte, Place de l’Europe on a Rainy Day. 1876-1878. Oil on canvas. 83-1/2 × 108-3/4 in. Charles H. and Mary F. S. Worcester Collection, 1964.336. The Art Institute of Chicago. Photography © The Art Institute of Chicago. [Fig. 5-19]

The Three Sacred Shrines at Kumano: Kumano Mandala. Kamakura period, c The Three Sacred Shrines at Kumano: Kumano Mandala. Kamakura period, c. 1300. Hanging scroll, ink and color on silk. 52-1/4 × 24-1/4 in. © The Cleveland Museum of Art. John L. Severance Fund, 1953.16. [Fig. 5-20] The Three Sacred Shrines at Kumano: Kumano Mandala. Kamakura period, c. 1300. Hanging scroll, ink and color on silk. 52-1/4 × 24-1/4 in. © The Cleveland Museum of Art. John L. Severance Fund, 1953.16. [Fig. 5-20]

Theo van Doesburg and Cornelius van Eesteren Theo van Doesburg and Cornelius van Eesteren. Contra-Construction Project, Axonometric, Project for a private house. 1923. Gouache and ink on paper, sheet. 22-1/2 × 22-1/2 in. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Gift of Edgar Kaufmann, Jr., 1947. (149.1947). The Museum of Modern Art, New York, NY, U.S.A. [Fig. 5-21] Theo van Doesburg and Cornelius van Eesteren. Contra-Construction Project, Axonometric, Project for a private house. 1923. Gouache and ink on paper, sheet. 22-1/2 × 22-1/2 in. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Gift of Edgar Kaufmann, Jr., 1947. (149.1947). The Museum of Modern Art, New York, NY, U.S.A. [Fig. 5-21]

Photographer unknown. Man with Big Shoes. c. 1890. Photograph Photographer unknown. Man with Big Shoes. c. 1890. Photograph. Courtesy of the Library of Congress. [Fig. 5-22] Photographer unknown. Man with Big Shoes. c. 1890. Photograph. Courtesy of the Library of Congress. [Fig. 5-22]

Albrecht Dürer. Draftsman Drawing a Reclining Nude One of 138 woodcuts and diagrams in Underweysung der Messung, mit dem Zirkel und richtscheyt (Teaching of Measurement with Compass and Ruler).. c. 1527. Woodcut, second edition. 3 × 8-1/2 in. Museum of Fine Arts, Boston. Fund in memory of Horatio Greenough Curtis. 35.53. Photograph ©2012 Museum of Fine Arts, Boston. [Fig. 5-23] Albrecht Dürer. Draftsman Drawing a Reclining Nude One of 138 woodcuts and diagrams in Underweysung der Messung, mit dem Zirkel und richtscheyt (Teaching of Measurement with Compass and Ruler).. c. 1527. Woodcut, second edition. 3 × 8-1/2 in. Museum of Fine Arts, Boston. Fund in memory of Horatio Greenough Curtis. 35.53. Photograph ©2012 Museum of Fine Arts, Boston. [Fig. 5-23]

Andrea Mantegna. The Dead Christ. c. 1501. Tempera on canvas Andrea Mantegna. The Dead Christ. c. 1501. Tempera on canvas. 26 × 30 in. DEA / G. CIGOLINI. [Fig. 5-24] Andrea Mantegna. The Dead Christ. c. 1501. Tempera on canvas. 26 × 30 in. DEA / G. CIGOLINI. [Fig. 5-24]

Utagawa Hiroshige (Ando). Moon Pine, Ueno, No Utagawa Hiroshige (Ando). Moon Pine, Ueno, No. 89 from One Hundred Famous Views of Edo. 7th month of 1856. Woodblock print. 14-3/16 × 9-1/4 in. The Brooklyn Museum. Gift of Anna Ferris. 30.1478.89. [Fig. 5-25] Utagawa Hiroshige (Ando). Moon Pine, Ueno, No. 89 from One Hundred Famous Views of Edo. 7th month of 1856. Woodblock print. 14-3/16 × 9-1/4 in. The Brooklyn Museum. Gift of Anna Ferris. 30.1478.89. [Fig. 5-25]

Janine Antoni. Touch. 2002. Color video, sound (projection) Janine Antoni. Touch. 2002. Color video, sound (projection). duration: 9:36 min. loop. Gift of Donna and Howard Stone, 2007.43. © 2002 Janine Antoni. [Fig. 5-26] Janine Antoni. Touch. 2002. Color video, sound (projection). duration: 9:36 min. loop. Gift of Donna and Howard Stone, 2007.43. © 2002 Janine Antoni. [Fig. 5-26]

Umbo (Otto Umbehr). Weird Street (Unheimliche Straße). 1928 Umbo (Otto Umbehr). Weird Street (Unheimliche Straße). 1928. Gelatin silver print. 11-7/16 × 9-1/4 in. Metropolitan Museum of Art, New York. Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.49). © Galerie Rudolf Kicken, Cologne and Phyllis Umbehr, Frankfurt/M. [Fig. 5-27] Umbo (Otto Umbehr). Weird Street (Unheimliche Straße). 1928. Gelatin silver print. 11-7/16 × 9-1/4 in. Metropolitan Museum of Art, New York. Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.49). © Galerie Rudolf Kicken, Cologne and Phyllis Umbehr, Frankfurt/M. [Fig. 5-27]

Paul Strand. Abstraction, Porch Shadows. 1916. Silver platinum print Paul Strand. Abstraction, Porch Shadows. 1916. Silver platinum print. 12-15/16 × 9-1/8 in. Réunion des Musées Nationaux / Art Resource, NY. © Aperture Foundation. [Fig. 5-28] Paul Strand. Abstraction, Porch Shadows. 1916. Silver platinum print. 12-15/16 × 9-1/8 in. Réunion des Musées Nationaux / Art Resource, NY. © Aperture Foundation. [Fig. 5-28]

Henri Matisse. Harmony in Red (The Red Room). 1908-09. Oil on canvas Henri Matisse. Harmony in Red (The Red Room). 1908-09. Oil on canvas. 70-7/8 × 86-5/8 in. Photograph © The State Hermitage Museum. Photo by Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets. © 2012 Succession Henry Matisse/Artists Rights Society (ARS), New York. The Hermitage, St. Petersburg. #9426. [Fig. 5-29] Henri Matisse. Harmony in Red (The Red Room). 1908-09. Oil on canvas. 70-7/8 × 86-5/8 in. Photograph © The State Hermitage Museum. Photo by Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets. © 2012 Succession Henry Matisse/Artists Rights Society (ARS), New York. The Hermitage, St. Petersburg. #9426. [Fig. 5-29]

Paul Cézanne. Mme. Cézanne in a Red Armchair. 1877. Oil on canvas Paul Cézanne. Mme. Cézanne in a Red Armchair. 1877. Oil on canvas. 28-1/2 × 22 in. Museum of Fine Arts, Boston. Bequest of Robert Treat Paine, 2nd. 44.776. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 5-30] Paul Cézanne. Mme. Cézanne in a Red Armchair. 1877. Oil on canvas. 28-1/2 × 22 in. Museum of Fine Arts, Boston. Bequest of Robert Treat Paine, 2nd. 44.776. Photograph © 2012 Museum of Fine Arts, Boston. [Fig. 5-30]

Terry Winters. Color and Information. 1998 Terry Winters. Color and Information. 1998. Oil and alkyd resin on canvas. 9 × 12 ft. ©Terry Winters, Courtesy Matthew Marks Gallery, New York. [Fig. 5-31] Terry Winters. Color and Information. 1998. Oil and alkyd resin on canvas. 9 × 12 ft. ©Terry Winters, Courtesy Matthew Marks Gallery, New York. [Fig. 5-31]

Feng Mengbo. Long March: Restart. 2010. Video game installation Feng Mengbo. Long March: Restart. 2010. Video game installation. each screen approximately 20 × 80 ft. Photograph by Matthew Septimus. © MoMA PS1. Courtesy of the artist and Chambers Fine Art. [Fig. 5-32] Feng Mengbo. Long March: Restart. 2010. Video game installation. each screen approximately 20 × 80 ft. Photograph by Matthew Septimus. © MoMA PS1. Courtesy of the artist and Chambers Fine Art. [Fig. 5-32]

Doug Aitken. the moment. 2005. Eleven-channel digital video, sound (projected on plasma screens with mirrors); Edition number 1 of 4. 6:30 min. loop. Edition number one of four, Gift of Donna and Howard Stone, 2007.34, The Art Institute of Chicago. Courtesy Doug Aitken and 303 Gallery, New York. [Fig. 5-33] Doug Aitken. the moment. 2005. Eleven-channel digital video, sound (projected on plasma screens with mirrors); Edition number 1 of 4. 6:30 min. loop. Edition number one of four, Gift of Donna and Howard Stone, 2007.34, The Art Institute of Chicago. Courtesy Doug Aitken and 303 Gallery, New York. [Fig. 5-33]