Shifting gears, in James Drake’s grand baroque theater drawing, Dancing in the Louvre, the elegantly simulated moldings mediate the viewer’s imaginative transgression of the proscenium plane. The gown that overflows into the foreground space, the dynamic diagonal and counterpoint of the dancers’ elegantly dressed forms, and the two point perspective defined by the pedestal at the left and the voyeur couple on the right serves to establish a continuum from the viewer’s real world space through the fore,
middle, and implied distance.
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