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.
Informations légales : prix de location à la page 0,1500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
Extrait
Vision,Reflection,andDesire
Lecures in Ar Hisory
Vision, Reflection, and Desire
Capel Hill
he publicaion of boos in is series is made possible roug e generous suppor of William G. Rand in memory of Beie Allison Rand.
his boo was publised wi e assisance of e William R. Kenan Jr. Fund of e Universiy of Nor Carolina Press.
he paper in is boo mees e guidelines for permanence and durabiliy of e Commiee on Producion Guidelines for Boo Longeviy of e Council on Library Resources.
Library of Congress Caaloging-in-Publicaion Daa Summers, David, – Vision, reflecion, and desire in wesern paining / David Summers. p. cm. — (Beie Allison Rand lecures in ar isory) Includes bibliograpical references and index. ---- (clo : al. paper) . Opics and ar—Europe. . Paining, European. . Visual percepion. I. Tile. . —dc
For Marilynne,
robins so red
This page intentionally left blank
Prefaceix
Inroducion
Sadow-Paining and Scene-Paining:
he Beginnings of Opics and Classical Ar
Speculum Animaum
Speculum Mundi
Narcissus and e Mirror wiou Sain
Aterword: Perspecive, Opics, and e Maerial Subjec
Noes
Bibliograpy
Index
This page intentionally left blank
he lecures on wic is boo is based began some years ago wi a elepone call from a longime friend, Arur Mars. We agreed on a series of Rand Lec -ures o be called “Lig in Wesern Paining from Aniquiy o Cubism.” Wen wriing acually began, e las lecure, o ave been iled “he Painer of Mod -ern Lig,” fell by e wayside as earlier ar-isorical issues demanded clarifica-ion and explanaion. I am graeful o Arur and is colleagues in Capel Hill for aving given me e occasion o wrie ese lecures and o e Rand family for aving made possible e disinguised series of lecures and publicaions o wic I ope is boo will prove a wory conribuion and us a wory memorial o Beie Allison Rand. I am graeful o e colleagues and sudens in Carloesville wo lisened o e firs drat of e papers and of course o my second audiences in Capel Hill, wo eard e versions sarpened by a firs presenaion. I am graeful again o e Rand family and o Mary Seriff and er colleagues in e Hisory of Ar Deparmen a e Universiy of Nor Carolina for eir ospialiy during my visi. A e Universiy of Nor Caro -lina Press, Elaine Maisner and Paula Wald elped me roug e ever-more inricae ass of preparing a scolarly boo for publicaion. I am graeful o my deparmen cair, Lawrence O. Goedde III, and o e Lindner Family Trus a e Universiy of Virginia for eir conribuions o e boo’s illu sraions. Dwig Suro’s een ediorial eye was mos elpful in e final preparaion of e manuscrip. As always, I am anful for e paience of my parner in life, my wife, Nancy, and for er remarable abiliy o eep ongoing and clear rac of an argumen disan from er own concerns wiou breaing er own sride.