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Updated: May 16, 2026

Investigating the 'Uncatchable Smile' in Leonardo da Vinci's La Bella Principessa: A Comparison with the Mona Lisa and Pollaiuolo's Portrait of a Girl
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Occlusion issues in early Renaissance art.

Barbara Gillam1

  • 1School of Psychology, University of New South Wales, Sydney. N.S.W. 2052 Australia;

I-Perception
|November 13, 2012
PubMed
Summary
This summary is machine-generated.

Early Renaissance painters used specific strategies to create realistic overlap, focusing on contour relationships and figure-ground principles. This research explores their innovative techniques for depicting occlusion in art.

Keywords:
art and perceptionincoherence in artperception of overlapprinciples of occlusion

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Area of Science:

  • Art History
  • Visual Perception
  • Cognitive Science

Background:

  • Early Renaissance art aimed for realistic 3D depiction.
  • Depicting surface overlap (occlusion) was a key challenge.
  • Existing scholarship emphasizes perspective over occlusion.

Purpose of the Study:

  • Examine early Renaissance strategies for depicting occlusion.
  • Relate these strategies to ecological and perceptual research.
  • Analyze the role of occlusion in visual impact.

Main Methods:

  • Analysis of early Renaissance paintings for occlusion depiction strategies.
  • Application of ecological and perceptual research principles.
  • Examination of figure-ground principles and global stratification factors.

Main Results:

  • Occlusion perception enhanced by lack of relationship between occluding and occluded contours.
  • Figure-ground principles and global factors (ground plane, viewpoint, grouping) aid stratification.
  • Artists selectively avoided occluding faces, heads, and halos.

Conclusions:

  • Renaissance painters employed diverse strategies for occlusion, influenced by perceptual principles.
  • Avoidance of occluding faces/heads and manipulation of halos were common.
  • Intransitivity in architectural occlusion may relate to perceptual vs. cognitive influences.