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The Mirror, the Window, and the Telescope
Edgerton shows how linear perspective emerged in early fifteenth-century Florence out of an artistic and religious context in which devout Christians longed for divine presence in their daily lives and ultimately undermined medieval Christian cosmology.
Theaters of Conversion
Mexico's churches and conventos display a unique blend of European and native styles. Missionary Mendicant friars arrived in New Spain shortly after Cortes's conquest of the Aztec empire in 1521 and immediately related their own European architectural and visual arts styles to the tastes and expectations of native Indians. Right from the beginning the friars conceived of conventos as a special architectural theater in which to carry out their proselytizing. Over four hundred conventos were established in Mexico between 1526 and 1600, and more still in New Mexico in the century following, all built and decorated by native Indian artisans who became masters of European techniques and styles ev...
Renaissance Redisc Liner Per
An evaluative account of the rediscovery of geometric linear perspective in fifteenth-century Italy, the artists, architects, and mathematicians who studied and applied its principles, and its pervasive impact on Renaissance and post-Renaissance life.
The Heritage of Giotto's Geometry
This ambitious book explores the relationship between the Western "scientific revolution" that began with Galileo in the early seventeenth century and the Renaissance "artistic revolution" inaugurated by Giotto three hundred years earlier. The fruit of many years of thought and research, it demonstrates the crucial role that Italian Renaissance painting, sculpture, and architecture played in what we call "modern science". Samuel Y. Edgerton, Jr., shows that rather than being symptomatic in nature, the arts served as a catalyst for the transformation in perception which occurred in the West in the fourteenth century. According to Edgerton, the new way in which "reality" was represented, through the use of the unique Renaissance tools of perspective and chiaroscuro, set the stage for modern scientific practice.
The Elusive Synthesis
An anthology of 13 original essays clustering around two notions: that scientific experience is laden with an emotive content of the beautiful that is manifest both in the conceptualization and presentation of specific data and in the broader theoretical formulations that bind details into unitary wholes; and that science and aesthetics may share a deep philosophical foundation, but if so it has become increasingly difficult to discern in the 20th century. The topics include the aesthetic construction of Darwin's theory, form and function in the molecularization of biology, Kant's aesthetic-expressive vision of mathematics, and the art of displaying science in museum exhibitions. No subject index. Annotation copyright by Book News, Inc., Portland, OR
Painting and Experience in Fifteenth Century Italy
An introduction to 15th century Italian painting and the social history behind it, arguing that the two are interlinked and that the conditions of the time helped fashion distinctive elements in the painter's style.
The Science of Art
This work, one of the most lucidly written art history books in recent memory, addresses a topic of inherent complexity and great recent interest. Kemp (Univ. of St. Andrews), who has written on Leonardo, discusses perspective and optic theories as they related to the central problem of European painting for half a millennium, the verisimilar depiction of nature. The first part of the book discusses perspective theory and practice and the use of devices that led toward photography. In the second part, Kemp explores optic theories derived from Aristotle and from Newton and their theoretical and practical impacts on painting. The only minor cavil is the unclear order of the select bibliography; otherwise, this is a superb and thoughtful book, with a level of writing to which few can aspire. Highly recommended for general as well as special collections.-- Jack Perry Brown, Ryerson & Burnham Libs . , Art Inst. of Chicago.
