Souffleur, what is the meaning of 'atmospheric perception'?

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven, foto: © Dominique Provost voor Meemoo, Art in Flanders

SOUFFLEUR

Atmospheric perception

Just like all fields, art has its own vocabulary. In ‘Souffleur’, M staff explain and contextualise the professional terminology that may sound familiar to you, but whose exact meaning you (may) have forgotten. 

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven, foto: © Dominique Provost voor Meemoo, Art in Flanders

Wies De Vos, Public Engagement Officer for Exhibitions: ‘From the 14th or 15th century, painters try to depict the world as realistically as possible. The vanishing point perspective becomes more popular, for example. This is a very effective way of evoking depth if you have straight lines – in rooms or suchlike – but difficult to apply to landscapes.’

 

‘You can, however, add depth to a landscape by using the right colours. You just need to pay attention if you are in a place where you have a good view of the horizon: the further away things are from you, the bluer and blurrier they seem. Painters had already noticed this in the 15th century, and they used it with great success: they painted things in the distance in blurry, blue hues. We term this ‘atmospheric’ perspective because it arises from the refraction in the atmosphere.’

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven

‘Het Laatste Avondmaal’ (detail), Dieric Bouts, Collectie M Leuven, foto: © Dominique Provost voor Meemoo, Art in Flanders

‘Leonardo da Vinci is often described as the inventor of atmospheric perspective, probably because it is so prominent in the Mona Lisa and his other paintings. But our own Dieric Bouts was already using it in a very refined and consistent manner. For example, on one of the side panels of The Last Supper – which was painted between 1464 and 1468, forty years before the Mona Lisa. It introduces the prophet Elijah in the desert. You clearly see the background becoming gradually bluer and less focused. In paintings by his Italian contemporaries, you do not yet see this – these often appear much flatter. We do not know where Bouts saw or learned atmospheric perspective. But he clearly had a very thorough knowledge of it.’