Drawing in Real Perspective: A History of artistic perspective and a new approach to drawing

In this book we learn how to draw using a natural technique that is amazingly efficient and simple. Real Perspective is a new approach to space as seen by our eyes.

Perspective is an integral part of drawing and painting.
It is however poorly understood today. Our representation of perspective in western countries dates from the 17th century, enforced by an edict made by Louis XIV despot of France. It consisted of drawing receding straight lines starting from a vanishing point.

However, the ancient Greeks used specific curves. This heritage was not taken up during the Renaissance.

In an investigative atmosphere, this book unmasks beliefs we received on the Renaissance and our contemporary culture. We learn to believe what we see.

We rediscover again the Greek knowledge, and the researches among others of Leonardo da Vinci, Henri Matisse and David Hockney. Real Perspective is a new approach of space as seen by our eyes.

“The sum of his work easily pulls the reader in his wake”
Xavier Bolot delivers to us the fruit of his reflections on the subject of visual perception of surfaces with passion and sincerity. He has read with eagerness everything concerning these codes or “perspectives.” And in discovering the rifts in each of them, he wishes to experiment with their limits and launch himself in a grand adventure by proposing a body of work that asks, “Can one realize a more instinctive perspective?” 
He imposes this challenge with ardor and tenacity. 
The sum of his work easily pulls the reader in his wake and can convince us with enthusiasm his faith in the perspective and of its future. 
Jean Mary, Honorary Professor of Perspective of Art Schools

“I find it remarkable all your drawings in the Third Section”
I share perfectly the sentiments of Michèle Arnold and Jean Mary with regard to your work.
I find it remarkable all your drawings in the Third Section. Can I keep a little of your work? Without perspective no element of surface is more important than another.
In architecture I have studied the optic corrections of the Parthenon and painted a number of contraperspectives. 
Thank you for showing me the energy of drawing.
Paul Roche-Ponthus, Artist and Researcher