His suburbia is a blinding pure-colour utopia, brightened with white – unnaturally - without shadow or stain.

Leonardo once wrote that ‘light and shade should blend without lines or borders in the manner of smoke’.

The illusion of reality balances the soft and the touchable with the reflective and the gleaming.

How to create a representation of the human body which appears convincingly plotted in 3D space?

Hasan was a mercurial force in the digital art history space, and created a devoted community of Renaissance art lovers around his blog.

Raphael sought to achieve soft shadows and tonal unity, without sacrificing bellezza di colore, or brilliant colour.

The overall effect of Cangiantismo is slightly dreamy, and an appropriate environment for non-threatening monsters.

Cennini created a comprehensive manual, explaining challenges such as ‘How to paint a dead man' and How to paint water'.

Colour today, as in Renaissance Italy, artfully fuels an essential escape to alternative states of mind.

One discovers that this connection between artists and math wasn’t confined to one-off superstars such a Leonardo.

Like a Baroque Doll House, the inner psychological depths and expansive terrains of Virtual Reality unfold for the intrepid.

Landscape appreciation was seen as essential to physical and spiritual health for cultured Renaissance Italians.

In this pursuit of naturalistic perfection through math, the world of contemporary 3D rendering and the Italian Renaissance are linked.

Immersion in virtual worlds begins with the ability to enter that world, usually as a character, be it human, android, or furry.

Sensory impressions derived from bright colours drew the onlooker from the material to the immaterial, bringing the divine into human life.

Caravaggio - far from being out of step with his time - was powerfully in synch with the ideals and obsessions of Counter-Reformation Italy.

While realistic illusion had great power to touch the humanity of Christian followers, irreality was essential to help them transcend it.

The moment I heard about this exhibition, the first outside Italy to focus on Pietro Perugino exclusively, I booked my flight.

Painter Hubert van Eyck, greater than whom none has been found, began the weighty task, which his brother Jan, second in art, completed.