What is Anamorphic Art? Unveiling Hidden Dimensions in Reality

In the realm of artistic representation, some artists strive for unembellished realism, while others venture into the territory of perceptual distortion. Anamorphic artists exist somewhere in the middle of this spectrum, engaging with reality in a way that invites the viewer to look a little harder, or interact a little differently.

The word “anamorphosis,” derived from the Greek word for transformation first emerged in the 17th century. This term, when applied to art, describes a perspective that appears distorted in some conditions but accurate in others. It doesn’t, though, refer to an image that’s merely been stretched, resized, transformed, or otherwise altered from the original design. It’s also not quite a visual illusion. 

Instead, whether or not the image’s perspective appears distorted depends on how someone views it. For example, someone might properly view an anamorphic picture from a very specific vantage point or using a special tool, such as a curved mirror.

From the era of its invention to the present day, anamorphic art has spanned countless artistic media, including painting, sculpture, photography, and installation art. We’ve prepared a guide to anamorphic images past and present, as well as an exploration of how — and why — the form has been making a comeback.

Two Types of Anamorphic Art: Perspective and Mirror

Anamorphic art exists in many shapes and forms. Below are descriptions and examples of the two main types of anamorphosis.

1. Mirror Anamorphosis 

Mirror anamorphosis refers to artwork that appears distorted unless the viewer looks at its reflection in a curved mirror. Just as in Steve Field’s “Cameo” mosaic at England’s Stourbridge Bus Station, the conical or cylindrical mirror is usually positioned at the center of the image. This mirror allows the viewer to clearly see the work from a variety of angles, and this is a unique hallmark of mirror anamorphosis.

The magic of mirror anamorphosis lies in the laws of reflection and refraction. The curved mirror shortens the elongated lines of the original image, turning it into something recognizable. In “Cameo,” the sweeping gray and white lines of mosaic tile compress in the reflection of the mirror to reveal a heron. This type of 3D anamorphic art ranges from small-scale designs to larger-than-life street art — and everything in between.

2. Perspective Anamorphosis

Unlike mirror anamorphosis, where the viewer can discern the artwork from multiple angles, perspective anamorphic art relies on the viewer assuming a precise vantage point. Perspective anamorphosis allows artists to experiment with illusory perspectives and tailor the artwork to a single viewer in a single location. 

A prime example of perspective anamorphosis is Andrea Pozzo’s painting on the ceiling of the Jesuit Church of Sant’Ignazio in Rome. Viewers who stand in the center of this expansive church will experience the illusory perspective of staring up at a dome with vaults.  

Who Invented Anamorphic Art?

While the origins of anamorphic art are not entirely clear, artists Leonardo da Vinci and Albrecht Durer likely crafted some of the first anamorphic designs. Inspired by Piero della Francesca’s observations about the distortion of drawings and paintings around their edges, da Vinci filled his notebooks with anamorphic designs. His Codex Atlanticus book of drawings from 1478 to 1519 features several distorted faces. When these faces are viewed from a precise angle, they appear to be in the correct perspective.

These initial sketches ultimately laid the groundwork for the growth of anamorphic art during the Renaissance period (ca. 1300-1700). Many of these early anamorphic art pieces employed perspective anamorphosis. Later, in the 17th century, mirror anamorphosis — and other anamorphic art that required tools to decipher — began to emerge.

Popular Examples of Anamorphic Art

Anamorphic artists produced several notable pieces over the course of the 16th and 17th centuries. The following are three of the most popular anamorphic art pieces to have emerged since the invention of anamorphosis.

Portrait of Edward VI, 1546, William Scrots

This anamorphic portrait, attributed to William Scrots, depicts Edward VI when he was nine years old, one year before he became king. In this painting, Edward VI, who would later reign from 1547-1553, appears to be stretched and distorted. However, when the viewer approaches the painting from the right hand side, they’ll see him in an accurate perspective (see this on the National Portrait Gallery website).

This portrait of Edward VI became an important hallmark of perspective anamorphosis — and remained one far past Scrots’s lifetime. Countless foreign visitors encountered this portrait during their visits to Whitehall Palace in the 16th century, and in 1649, it sold for £2. 

Many critics, both past and present, believe that “Portrait of Edward VI”’ reflects Scrots’s mastery of geometric concepts. These assessments further support the idea that anamorphic artists crafted designs to demonstrate both their artistic and mathematical expertise.

The Ambassadors, 1533, Hans Holbein

This portrait of French diplomats Jean de Dinteville and Georges de Selve, entitled The Ambassadors, is in perfect perspective — save for one object in the foreground. While this object in Hans Holbein the Younger’s painting initially seems unclear, if you position yourself at the bottom right-hand corner of the painting, a human skull will reveal itself.

For Holbein, the appeal of anamorphosis was the opportunity to place subtle, abstract messages against a concrete backdrop. Influenced by Protestant and Catholic philosophies, Holbein hoped to communicate the idea of “memento mori.” This Latin phrase translates to “remember that you die.” By placing the skull in front of high-status diplomats, Holbein made art about the importance of remembering your mortality in every circumstance.

Saint Francis of Assisi, Saint Francis de Paul and Saint Peter Penitent, 16th or 17th century, Unknown Spanish Artist

This eight-panel painting by an unknown, 17th-century artist doesn’t have a single vantage point — instead, it has three. Depending on where the viewer stands relative to the image, they will see a rendition of one of three Christian saints. 

To the painting’s right, viewers can see Saint Francis de Paul, best known for his desire to practice worship and contemplate faith alone. Viewers who stand on the painting’s left will see Saint Francis of Assisi, whom many historians believe represented the movement of evangelical poverty. The final vantage point, directly in front of the painting, reveals a penitent Saint Peter, whom the Catholic church considers the first Pope.

Critics have marveled at the artist’s ability to capture three saints as well as at the high level of detail in each one. Saint Peter has two tears on his cheek, Saint Francis De Paul carries a note reading “Charitas,” and Saint Francis of Assisi has a tonsure. Arriving at the end of the Renaissance period, this painting reveals the evolving skill set of anamorphic artists since da Vinci’s time.

A Resurgence in Anamorphic Art 

Although anamorphic art reached its apex in the Renaissance period, it continues to be an impactful and increasingly popular artistic style. In fact, in 1935, American ophthalmologist Adelbert Ames Jr. constructed the Ames room, which reintroduced the idea of optical illusions to the masses. The room is trapezoidal, with an inclined floor and a peephole. When viewers look through the peephole, it appears that two subjects — one big, and one small — are standing in the same depth of field. However, in reality, one is standing significantly further away. 

In the years since, anamorphic art has experienced a major resurgence in photography, drawing, and large-scale installations. One of the most popular modern anamorphic pieces is Michael Murphy’s Gun Country (2014). Upon first glance, Gun Country appears to be a shapeless collection of guns suspended through the air. However, when the viewer stands further away from the piece, they’ll notice that, together, the 150 guns resemble the shape of the United States.

The 21st century has only revealed more purposes for anamorphic artwork. These hidden images have been the subjects of artistic debates and sparked discussions on big-picture issues. For example, Murphy has said that “Gun Country” almost always prompts viewers to discuss their stance on guns. These conversations, and others that anamorphic art has catalyzed, hold significance far beyond museum walls.

The Future of Anamorphic Art

From modern art installations featuring political commentary to Renaissance paintings with religious undercurrents, anamorphic art has taken countless shapes and forms over the centuries. The versatility of anamorphosis, and its reliance on a variety of intellectual disciplines, promise an interesting future for this artistic style.

With the limitless possibilities of anamorphosis, the potential future directions of anamorphic art remain unclear but abundant. However, the exciting revival of anamorphic art in recent times clearly demonstrates that anamorphic art — and its popularity among audiences — is here to stay.