Vision, Reflection, and Desire in Western Painting
Seiten
2007
|
New edition
The University of North Carolina Press (Verlag)
978-0-8078-3110-6 (ISBN)
The University of North Carolina Press (Verlag)
978-0-8078-3110-6 (ISBN)
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Spanning more than 2,500 years in the history of art, this book demonstrates how the rise and diffusion of the science of optics in ancient Greece and Mediterranean world correlated to pictorial illustion in the development of Western painting from Hellenistic Greece onwards.
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 illustion 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.
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 illustion 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.
David Summers is William R. Kenan Jr. Professor of Art History at the University of Virginia. He is author of three previous books, including Real Spaces: World Art History and the Rise of Western Modernism.
| Reihe/Serie | Bettie Allison Rand Lectures in Art History |
|---|---|
| Verlagsort | Chapel Hill |
| Sprache | englisch |
| Maße | 156 x 235 mm |
| Gewicht | 491 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| Kunst / Musik / Theater ► Malerei / Plastik | |
| Naturwissenschaften ► Physik / Astronomie ► Optik | |
| ISBN-10 | 0-8078-3110-7 / 0807831107 |
| ISBN-13 | 978-0-8078-3110-6 / 9780807831106 |
| Zustand | Neuware |
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