With the perspective lines drawn in and extended to the horizon line, we can see the related use of one- and two-point perspective systems. The central recessional point sits on the horizon line just behind the young ladies left elbow. Hence, the central character of this composition has all the recessional space "focused" on her, while the music teacher stands to one side. And to give her a "double" presence, her reflection comes back to us from the back wall mirror.The mirror also reflects the tiled floor, the table with an oriental carpet, and the foot of the artists easel. Of course, the artist's eye-level (and our own) is that of the horizon line, which implies that he is sitting.
In the next few pages we will explore this two-point system in its own right, unimpaired by its descriptive usefulness.

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