Short Stuff: How Eyes In a Painting Follow You

Published Nov 25, 2020, 10:00 AM

Ever noticed how eyes in a painting sometimes follow you around the room? It’s weird! But it’s also fully explainable and Josh and Chuck do just that here.

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Hey there, Hi, there, ho there, and welcome to the short stuff. I'm Josh, there's chalk, and Jerry's here, which took up an extra couple of seconds mentioning Jerry. So let's get to it because we just wasted some time. Yeah. So, if you remember about a year ago, dear listener, we did a podcast, a little shorty on the Mona Lisa and we talked kind of briefly about the fact that Mona Lisa's eyes will follow you if you move about the room like a horror movie painting, and that's the thing, and we said, I think Josh even said, hey, you know, I want to do a show on that. I like a regular shorty on that. That was a great Josh impression. Hello, Love, let's do one on that, right, Jimminy crickets Um, So we did. This is what we're doing right now, Chuck. That's right. The the the reason why which will come later in the podcast, but the phenomenon of that we've all seen on school be doing in horror movies of moving around a room and the appearance that the eyeballs of the painting are following you. Right, So there's actual like this is actually a thing as anybody who's ever seen it in real life knows um, but you may not have ever understood why. And it turns out that it's one of the easiest things in the world to understand, one of the hardest things in the world to explain. For some reason, I had a hard time to it makes no sense whatsoever, because once you understand it, you're like, okay, yeah, of course that makes total sense. But like I even had to go back and add some to this article that bro this is a Josh Clark jam from the House Stuff Works staff writer days, and I had to go back and and add something from like I think some art site and another site about there was like a forum among painters. There's this one painter's post saying like I can't make the eyes look at the viewer. Helped me and there, you know, some people kind of swooped in and explained to this one pain or how to do it. But it's actually very, very hard. But the whole thing is based on um perspective, and you would not have been able to make a painting with eyes staring at the viewer um before the four century, I believe, and thanks to an Italian architect named Philip. I'm sorry, Chuck, you want to take this one. It's about to say. I mean, I know I'm not sitting in the room with you. But Filippo brunellesco very nice. And he was an architect in Italy, like I said, and he was um in charge of the Baptiste. Sorry, Chuck, Baptista and Sanelin very nice. So um. He basically accidentally figured out perspective. Linear perspective in particular, which is in a painting where if you're looking at, say like a painting of railroad tracks, Um, they vanish in the distance, but if you'll notice they come together. The reason that they seem very far off, and that the tracks closer to to the wider part closer to you in the tracks closer together further from you is because it's union using linear perspective, which is just all lines in a painting can trace their origin back to a common single point. That's the that's the source of linear perspective. Yeah, and it's one of the coolest things in art, the notion that you can draw something on a flat canvas and just have those points kind of come closer to each other at the top, and it gives the impression of distance. It's really really cool. It is very cool. So that's one thing that that it's like you said, it gives the impression of distance. And before linear perspective came along, um artists had height and width and the only way to make something seem further away is to draw it smaller than the other thing. You want to seem closer together, and the whole, the whole jam just seemed very flat. Like if you think of hieroglyphics Egyptian um paintings on walls of tombs, that's a good example of pre perspective of art, right, very flat and two dimensional. Yeah, you can also do some other things to create the illusion of depth. Obviously, light and shadow. If you use light, it will demonstrate something um surfaces closeness to the light source and it's going to protrude out and then then reflect more light. You're going to use that shadow and the darker areas uh to denote something that's more closed off, maybe something further away. You combine those two things and you're gonna have another illusion. That illusion of depth basically sort of like a third dimension that's really not there exactly, but for all intents and purposes. You have just figured out how to add that third dimension, and it's like you just said, that's really important. It's not actually there using linear perspective, using the interplay of light and shadows to to suggest depth. It's not their height and with they're actually there. Those two dimensions are actually present in the painting. But that third dimension of of depth also known his length, that is nothing but an optical illusion. But that optical illusion gives rise to another optical illusion, the eyes and a painting following you around the room. That's right, So we're gonna take a break and talk how that actually works right after this. All right, So before we get to how that actually works, we should point out that what you mentioned earlier from that painter's blog or threat or whatever, uh it is, it is a tough thing to do as an artist to paint eyes um on a human being that look like they're looking at the person looking at the painting. It's a hard thing to do. Yeah, like you are based to clear a master of painting if you can do it without really having to think about it. But it has everything for years. Are you do you paint? Okay? I can see that being like just something I didn't know that, you just kind of did on the side. Um. So if you ever want to try, apparently chuck from what I could tell from this painter forum, we'll call it paint chan um. They if you have the face looking dead on like nine degrees from the canvas, um, it's much easier to paint the eyes looking out that way. It gets really hard when the head is tilted or um uh yeah, tilted in one way or another away from that nine degree axis. That's when it gets hard. Now has everything to do with how much of the white is shown, um, how much of the iris has shown where it sits in the eye. That it's really tough to capture unless the painting is looking or that the subject is looking straight out of the painting. Yeah. So another thing we should understand before we move on to how this little trick works with the eyes following you is if you go, if you move yourself around a statue, um, a sculpture, or if you move yourself around a live human being and just tell them to keep their eyes fixed forward and you move around them and you keep your eyeballs on theirs, that that trick is not gonna work. Their eyeballs are not going to be following you around the room, nor would it appear so from a sculpture, because you are changing your perspective. Their perspective is saying the same, and you're actually you know, when you round the corner, you go from seeing iris to the whites of someone's eyes and then the back of their head and then eventually back around again. And not only that, you know you're seeing more iris or less iris, or more right or less white. And this is giving your brain visual cues about this third dimension, um, but also the interplay of light and shadow on their face, on their eyes wherever, also giving your brain que is two and it's changing. Yes, this the statue your friend who's staring straightforward going like why am I doing this again? Um? Those things exist in the actual three third, three dimensions. Um. The painting itself again, that third dimension is nothing but tricks of of technique. They don't actually exist in the three dimensions. So when you paint eyes looking a certain way, they're going to look that certain way no matter what they're fixed, they're set. Your brain is not going to get any more information moving around the room that you're It's not going You're not going to see more white or less white of the eyes. The irises aren't going to um change position. They are fixed no matter where you stand in relation to that painting. And as a result, that's why the eyes following around, because if they're painted gazing out of the painting to begin with, they're going to seem that way no matter where you stand, they'll the eyes will follow you around the room from the painting. That's right. If a person on a painting is painted to where they're looking not looking at you, they're looking away from you, it's not going to allow that allusion to take place. Um and to cap it off, it's even hard to have that poem have that person meet your gaze. Like let's say someone's painted, uh and they're looking sort of off to the side. You can't just walk off to the side to kind of where they seem to be looking and lock eyes with them. There is just this weird illusion of this sort of forever into the distance gaze that happens. Yeah, which really like re re researching this and I think admittedly fully understanding it for the first time has really given me a lot of um of more respect for the craft of painting portraits than I had to for yeah, because I've never been into portraiture that much, so for me to yeah, I like a good rembrand. Yeah so, But but I mean the idea that it's it's really hard to paint the eyes a certain way. And then the fact that when you are painting eyes one way or the other, you're you're locking them in through tricks of perspective, using shadow and light and all that. That's I mean, hats off to all of you painters out there. Yeah. One thing I truly did not understand was this experiment in two thousand four from a group of researchers to try and prove this using a mannequin and math. I read this ten times and I have no idea what they mean. So they didn't use an actual mannequin. They used an image of a mannequin, so it's in two dimensions, but they used they used, um, you know, perspective to to make it seem like a three dimensional mannequin's Torso well, that makes more sense. But then they plotted out the different dots, so the dots that should seem further away because the mannequin itself, that part of the mannequin was further away. Um seemed further away no matter where you stood in when you were viewing this image of the mannequin. And they may just to basically capture this digitally to prove once and for all, this isn't The eyes following you in a painting aren't a trick like it actually is the way that that you're perceiving it, they do seem to be following you around the room. It's not like you're going nuts amazing, it really is. So now everybody knows the eyes in a painting follow you around, because if they're painted looking that way, you're not going to get any other visual cues suggesting that they're looking any other direction than that way. I think we've explained to Chuck thinks, And since Chuck breathlessly said, I think so, that means short stuff is apt. Stuff you should know is production of iHeart Radios. How stuff works. For more podcasts for my Heart Radio, visit the iHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows.

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