Sentence examples for atmospheric perspective from inspiring English sources

The phrase "atmospheric perspective" is correct and usable in written English.
It is typically used in art and design to describe a technique that creates the illusion of depth by changing color and clarity of objects intended to be perceived as distant.
Example: "The artist skillfully employed atmospheric perspective to give the landscape a sense of depth and realism."
Alternatives: "aerial perspective" or "distance perspective".

Dictionary

atmospheric perspective

noun

A technique in which an illusion of depth is created by painting more distant objects with less clarity, and with a lighter tone

Exact(19)

With its beautifully modulated atmospheric perspective, it conveys an Edenic natural harmony.

"We talk about warm and cool, dark and light, atmospheric perspective and seeing the temperature of shadows," she said.

In her paper, she spoke of it more formally, as atmospheric perspective, and linked it to the representation of weather in landscape paintings.

Recession is further emphasized by subtle atmospheric perspective achieved through a gradual diminishing of the distinctness of outline and colour from the foreground to the background.

It is possible that his brief stay in Venice may have influenced the art of Giorgione toward "opticality" and dense atmospheric perspective — but the Venetians were on the way there anyway, and might have arrived from more mundane, Northern models.

The Classical was linear, with lines drawn around verse forms and atoms alike; Magian culture is mysterious and glittering, like its Magi; ours is, above all, spatial, with atmospheric perspective in our paintings and sea voyages of discovery in our dreams.

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Similar(39)

From an atmospheric pollution perspective, the boundary layer height (BLH) is the main driver of the aerosol concentrations close to the ground.

One technique that was unique to Masaccio, however, was the use of atmospheric, or aerial perspective.

As the play unfolds on Neil Murray's flexible and atmospheric set, the perspective shifts frequently, with the fourth wall opening and closing at will.

Maybe Chambers didn't have time for the delicacies of one-point perspective and atmospheric; it was easier to fit the image together in a series of flattish planes, letting mountains upholstered in trees meet a river's mirrored surface with a nearly straight line and small jolt.

Integration of the UFG ice-core data with the existing NADP/NTN data provides a longer-term, yet more qualitative, historical perspective on atmospheric deposition in the WRR.

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