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The term anamorphosis (from ancient Greek: transformation) is used in art for the distortion of images or drawings in a regular and specified manner.
* Rectification: by change of perspective (e.g. viewing from the side) with the help of special mirrors. The obsower must be active himself and correct the distorted image.

The division of appearence and reality takes place in two stages:
A kind of relationship between the observer and the artist is established by central perspective, which thus pretends to offer space and depth on the focal plane. As a mechanical aid, Albrecht Dürer used a perspective frame for his works, thereby defining the position of his eyes. With Trompe-lóeil-painting (deceptive appearance) reality borders on unreality. By accelerating or delaying perspective one can exchange the viewpoints of a geometrical network or transform the proportions of objects without disfiguring them: in seemingly well-difined space there appears to be space of profound width and depth because of a sudden expanse of viewpoint, as the arrange linearments suddenly retreat. (De Chirico)
Anamorphosic perspective optically distroys the object given, which means that there is a discountinuity between form and drawing. This distortion is also achieved by the same conditions:
* Exchange of viewpoints within a geometrical network
* Use of a mechanical aid (e.g. reflex cylinder)
Both possibilities provoke contrasting illusory images which are of the same form. An example of anamorphosis can only be rectified if the correct viewpoint or appropriate devices of aid can be found. The image appears if it is viewed from the side or in a mirror and thus resembles itself again.

HISTORICAL DEVELOPMENT OF ANAMORPHOSIS

16th century:
Initiated by Leonardo da Vinci and Albrecht Dürer Holbein: "Die Gesandten" - diplomatics -, an anamorphic skull serves as a symbol of vanity between science and the arts. These compositions were used for unrestrained paintings, paintings of saints and secret portraits. They became wellknown even as far as England. By and by, the techniques of painting them were uncovered. (Shakespeare e.g. was fascinated by these paintings.)

17th century:
This is the century of Nicéron, of treatises, of anamorphical use of anamorphosis in gardens, towns and all of nature. Katoptric anamorphoses became well known. After their visual "distinction", the works can be rectified with the help of a cylindrical or a conical mirror. In France, the forms of composition that used distorted perspective were rediscovered for intellectual flights of thought by clergymen and mathematicians and were spread even further by the followers of Descartes who pronounced philosophical doubt which can be interpreted as a modification of Christian ideas on "vanitas" (=vanity). Descartes: cogito ergo sum: "Although I put everything in doubt, I am aware of my existence as a being capable of thinking."

17th and 18th centuries:
Heyday and popularisation of anamorphoses (books for drawing, paintings, graphics).

18th and 19th centuries:
Anamorphosis becomes void of its metaphysical content. The virtuosity of technique is at its peak, at the same time artistic degeneration sets in.

ROMANTICISM

went back to former examples like Edgar Allan Poe´s "Tales of the Grotesque and Arabesque (eccentricity).

PRESENT

Anamorphoses in modified form play a practical part in everyday life: e.g. signs and inscriptions on the street ("bus", "stop", arrows, etc.) match the driver´s viewpoint (acute angle).

Typical of 20th century:
Psychology of perception works out the basic features of anamorhic effect. Photography makes use of "fish-eye" lenses. Scince 1953, Film has projected films onto panoramic screens of anamorphic form with the help of specified objectives (fresco paintings on irregular ceilings in the baroque period).

Anamorphosis shows very clearly that the basis of all forms of perspective can be found in deception and artificiality, be it visual distortion or visual deception.