Experiments on the Role of Painted Cues in Hughes's Reverspectives

Abstract

The English artist Patrick Hughes has created an extraordinary class of painted artpieces, most commonly referred to as ‘reverspectives’. They consist of truncated pyramids and prisms with their smaller faces closer to the viewer, in such a way as to allow a realistic scene to be painted on them. The works of art contain rich perspective and other painted cues that conspire to elicit an illusory depth percept that is the reverse of the physical depth arrangement. This reverse depth is obtained under a wide range of viewing conditions, and competes with the veridical depth percept in a classical bistable paradigm that was found to exhibit a high degree of hysteresis. Under the illusory depth percept, reverspectives appear to move vividly as the viewer moves in front of them. This paper reports two experiments that were designed to assess the effectiveness of the painted cues in eliciting the illusory depth percept by using three different measures for the strength of the illusion. As expected, the illusion was favored by monocular viewing and large viewing distances. The results from these two experiments are in close agreement with each other, and they indicate that the painted cues are powerful in influencing the ultimate percept.