Vision, Reflection, and Desire in Western Painting

David Summers

Description

Spanning more than 2,500 years in the history of art, Vision, Reflection, and Desire in Western Painting demonstrates how the rise and diffusion of the science of optics in ancient Greece and the Mediterranean world correlated to pictorial illusion in the development of Western painting from Hellenistic Greece to the present. Using examples from the late Middle Ages and the Renaissance, David Summers argues that scene-painting (architectural backdrops) and shadow-painting (in which forms are modeled or shown as if in relation to a source of light) not only evolved in close association with geometric optics toward the end of the fifth century B.C.E., but also contributed substantially to the foundations of the new science.

The spread of understanding of how light is transmitted, reflected, and refracted is evident in the works of artists such as Brunelleschi, van Eyck, Alberti, and Leonardo. The interplay between optics and painting that influenced the course of Western art, Summers says, persisted as a framework for the realism of Caravaggio, Rembrandt, and Goya and continues today in modern photography and film.

Sujets

• Arts visuels
• Histoire des Arts
• Histoire des Arts
• Histoire des arts visuels
• Jan van Eyck
• Léonard de Vinci
• Rembrandt
• Filippo Brunelleschi
• Jérôme Bosch
• Le Caravage
• Masaccio
• Bruegel
• Leon Battista Alberti
• Alhazen
• Fra Mauro
• History
• Bernardino Poccetti
• Francisco de Goya
• Art
• Francisco Goya
• Leonardo da Vinci
• Hieronymus Bosch
• Pieter Bruegel the Elder
• Antonio del Pollaiolo
• Renaissance art
• Western art history
• Art in ancient Greece
• Erhard Etzlaub
• Andreas Walsperger
• Pietro Vesconte
• Rembrandt van Rijn

Informations

• Publié par: The University of North Carolina Press
• Date de parution: 01 décembre 2015
• Nombre de lectures: 0
• EAN13: 9798890879714
• Langue: English
• Poids de l'ouvrage: 11 Mo

Extrait

Vision,Reflection,andDesire   

Lecures in Ar Hisory

 

Vision, Reflection, and Desire 

      Capel Hill

©  he Universiy of Nor Carolina Press All rigs reserved Manufacured in e Unied Saes of America Se in Minion ype by Tseng Informaion Sysems, Inc.

he publicaion of boos in is series is made possible roug e generous suppor of William G. Rand in memory of Beie Allison Rand.

his boo was publised wi e assisance of e William R. Kenan Jr. Fund of e Universiy of Nor Carolina Press.

he paper in is boo mees e guidelines for permanence and durabiliy of e Commiee on Producion Guidelines for Boo Longeviy of e Council on Library Resources.

Library of Congress Caaloging-in-Publicaion Daa Summers, David, – Vision, reflecion, and desire in wesern paining / David Summers. p. cm. — (Beie Allison Rand lecures in ar isory) Includes bibliograpical references and index.  ---- (clo : al. paper) . Opics and ar—Europe. . Paining, European. . Visual percepion. I. Tile. .  —dc 

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For Marilynne,

robins so red

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Prefaceix

Inroducion

 Sadow-Paining and Scene-Paining:

 he Beginnings of Opics and Classical Ar

Speculum Animaum

Speculum Mundi 

 Narcissus and e Mirror wiou Sain

Aterword: Perspecive, Opics, and e Maerial Subjec

Noes

Bibliograpy

Index

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he lecures on wic is boo is based began some years ago wi a elepone call from a longime friend, Arur Mars. We agreed on a series of Rand Lec - ures o be called “Lig in Wesern Paining from Aniquiy o Cubism.” Wen wriing acually began, e las lecure, o ave been iled “he Painer of Mod - ern Lig,” fell by e wayside as earlier ar-isorical issues demanded clarifica- ion and explanaion. I am graeful o Arur and is colleagues in Capel Hill for aving given me e occasion o wrie ese lecures and o e Rand family for aving made possible e disinguised series of lecures and publicaions o wic I ope is boo will prove a wory conribuion and us a wory memorial o Beie Allison Rand. I am graeful o e colleagues and sudens in Carloesville wo lisened o e firs drat of e papers and of course o my second audiences in Capel Hill, wo eard e versions sarpened by a firs presenaion. I am graeful again o e Rand family and o Mary Seriff and er colleagues in e Hisory of Ar Deparmen a e Universiy of Nor Carolina for eir ospialiy during my visi. A e Universiy of Nor Caro - lina Press, Elaine Maisner and Paula Wald elped me roug e ever-more inricae ass of preparing a scolarly boo for publicaion. I am graeful o my deparmen cair, Lawrence O. Goedde III, and o e Lindner Family Trus a e Universiy of Virginia for eir conribuions o e boo’s illu sraions. Dwig Suro’s een ediorial eye was mos elpful in e final preparaion of e manuscrip. As always, I am anful for e paience of my parner in life, my wife, Nancy, and for er remarable abiliy o eep ongoing and clear rac of an argumen disan from er own concerns wiou breaing er own sride.