The development of perspective drawing by ihe painters and architects of the fifteenth century gave them and all who lived after them a means of combining in one drawing width, depth, and height. Drawings made before that time were distorted and flat. For about four centuries the three-dimensional perspective was used by artist and architect alike, and many painters produced pictures of existing buildings and also worked along with architects to render in perspective buildings still on the drawing board. When the camera was invented early in the nineteenth century, the photographer quickly took the place of the artist in painting existing architecture. Artists began to seek new means of expression that the camera could not duplicate and found such expression in the cubists' use of a fourth dimension and in abstraction, dadaism, expressionism, fantasy, tauvism, and the like. Many artists, shunning realism, followed the new movement and no longer worked with architects. Cubists, for instance, combined in one picture a number of different views of the same object from a number of stations, as if they were walking around the object. Architectural rendering, however, requires clarity and simplicity and could not utilize thisconcept. As no better method than the rendered scenic perspective has yet been invented for studying or illustrating architectural design, it is still universally used by architects, some of whom have become specialists in architectural rendering.
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