The Application of The Golden Ratio in Wall Art

The ancient Egyptians were the foremost to exercise mathematics in art. It seems virtually assured that they credited magical components to the phi, and installed it in the building of their great pyramids. As the golden ratio is discovered in the construction and splendor of the natural world, it can in addition be applied to achieve elegance plus balance in the creation of wall art. This is merely a tool however, and not a directive, for composition.
Pythagoras, the Greek mathematician and philosopher, was exceptionally attracted by the golden ratio, and illustrated that it was the origins for the proportions of the human form. He illustrated that the human body is created with each part in a definite golden ratio to all the other pieces. Pythagoras' discoveries of the proportions of the human stature had a great effect on Greek wall art. All of their foremost structures, right down to the nominal feature of ornament, was manufactured upon this proportion.
The divine proportion was utilized all the time by Leonardo Da Vinci. Notice how every part of the major measurements of the room and the bench in Da Vinci's "The Last Supper" were based on the golden section, which was known in the Renaissance era as The Divine Proportion. A golden rectangle fits so neatly round the principal form that it is regularly assumed the artist knowingly created the figure to match to those proportions. Knowing Leonardo's devotion to numerical patterns as well as the Fibonacci sequence, this is pretty likely.
Salvador Dalí explicitly utilized the golden section in his masterpiece, The Sacrament of the Last Supper. The sizes of the original are a golden rectangle. A huge dodecahedron, with edges in golden proportion to each other, is perched above and behind Jesus and dominates the opus. Michelangelo’s David used the same system, depicting the naval as the numerical centre of the Golden Ratio.