The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films.
Author: W.Stanley Jr. Taft
Publisher: Springer Science & Business Media
The physics and materials science behind paintings: the pigments, binders, canvas, and varnish that go into making a painting appear the way it does. The text discusses the physical principles behind the colors seen and how these change with illumination, the various types of paint and binders used in both old and modern paintings, and the optics and microscopic structure of paint films. Chapters on dating, binders, and dendochronology have been contributed by experts in the respective fields.
In this book, Eileen Reeves brings an art historical perspective to this story as she explores the impact of Galileo's heavenly observations on painters of the early seventeenth century.
Author: Eileen Reeves
Publisher: Princeton University Press
The remarkable astronomical discoveries made by Galileo with the new telescope in 1609-10 led to his famous disputes with philosophers and religious authorities, most of whom found their doctrines threatened by his evidence for Copernicus's heliocentric universe. In this book, Eileen Reeves brings an art historical perspective to this story as she explores the impact of Galileo's heavenly observations on painters of the early seventeenth century. Many seventeenth-century painters turned to astronomical pastimes and to the depiction of new discoveries in their work, yet some of these findings imposed controversial changes in their use of religious iconography. For example, Galileo's discovery of the moon's rough topography and the reasons behind its secondary light meant rethinking the imagery surrounding the Virgin Mary's Immaculate Conception, which had long been represented in paintings by the appearance of a smooth, incandescent moon. By examining a group of paintings by early modern artists all interested in Galileo's evidence for a Copernican system, Reeves not only traces the influence of science on painting in terms of optics and content, but also reveals the painters in a conflict between artistic depiction and dogmatic representation. Reeves offers a close analysis of seven works by Lodovico Cigoli, Peter Paul Rubens, Francisco Pacheco, and Diego Velázquez. She places these artists at the center of the astronomical debate, showing that both before and after the invention of the telescope, the proper evaluation of phenomena such as moon spots and the aurora borealis was commonly considered the province of the painter. Because these scientific hypotheses were complicated by their connection to Catholic doctrine, Reeves examines how the relationship between science and art, and their mutual production of knowledge and authority, must themselves be seen in a broader context of theological and political struggle.
John Constable is arguably the most accomplished painter of English skies and weather of all time. For Constable, the sky was the keynote, the standard of scale and the chief organ of sentiment in a landscape painting.
Author: John E. Thornes
Publisher: A&C Black
John Constable is arguably the most accomplished painter of English skies and weather of all time. For Constable, the sky was the keynote, the standard of scale and the chief organ of sentiment in a landscape painting. But how far did he understand the workings of the forces of nature which created his favourite cumulus clouds, portrayed in so many of his skies over the landscapes of Hampstead Heath, Salisbury and Suffolk? And were the skies he painted scientifically accurate? In this lucid and accessible study, John Thornes provides a meteorological framework for reading the skies of landscape art, compares Constable's skies to those produced by other artists from the middle ages to the nineteenth century, analyses Constable's own meteorological understanding, and examines the development of his painted skies. In so doing he provides fresh evidence to identify the year of painting of some of Constable's previously undated cloud studies.
Throughout the book, Dr. Troisi integrates discussion of each painting's artistic significance with theories of the human mind's evolution.
Author: Alfonso Troisi
Publisher: Oxford University Press
The use of visual art is relatively common in scientific literature, and academic publications sometimes reproduce famous paintings to attract potential readers. When used in this manner, artwork is just a marginal adornment. In The Painted Mind, however, each chapter is inspired by anartistic masterpiece. Throughout the book, Dr. Troisi highlights the artistic significance of each painting and introduces the reader to their creators' biographical stories. The Painted Mind has a scientific focus on the evolutionary analysis of human mind and behavior. Its discussion of emotions and behaviors integrates a variety of perspectives that can ultimately be reduced to the evolutionary distinction between proximate mechanisms and adaptive functions. AlthoughDr. Troisi is primarily a clinical psychiatrist, his eclectic scientific background - ranging from primate ethology to neuroscience, from behavioral biology to molecular genetics, and from Darwinian psychiatry to evolutionary psychology - gives his writing a unique perspective. In addition tointegrating data and findings from each of these disciplines, the book's presentation of evolutionary theories of the human mind is also intermixed with lively discussion of individual cases. Some are clinical cases from Dr. Troisi's own psychiatric practice; others reference the psychologicalprofiles of historical figures and fictional characters.
FORM IN PAINTING IN THE HISTORICAL PROGRESS OF THE ART . - In Egypt ,
the mother of arts , we find the origin of the art of painting . At a very ancient
period the Egyptians painted sculpture and then painted walls . They painted the
Author: Henry Noble Day
"The special preparation of this treatise on the general subject of beauty and perfect form, has been prompted by the observation that English literature is marvelously poor in aesthetic treatises, while a very general and earnest demand exists for suitable text books in this department of study. The importance of the study indeed can hardly be overrated, whether regarded in its relations to the culture of art generally and the right interpretation and enjoyment of art-creations of whatever kind, or to the mere personal ends of personal culture, since most vitally connected with all intellectual and moral culture is the familiar knowledge of the nature of the beautiful as related to the true and the good. Especial care has been taken to observe the strictest method in the whole development of the study, and to ground the teachings on the firmest foundations of philosophical truth and to exhibit each part of the system in its exact relations to the whole and to every other part. When it is used as a class book for instruction, the judicious teacher will accordingly be careful to omit, at least in the first studies, such portions as are too abstract or foreign to the customary range of thought in the pupil"--Preface. (PsycINFO Database Record (c) 2012 APA, all rights reserved).
National Association for the Promotion of Social Science (Great Britain). the
boiled mutton and turnips , of which the abstemious monarch was so fond . In a
few years our painter had amassed a handsome fortune , and life seemed to
Author: National Association for the Promotion of Social Science (Great Britain)
The volume for 1886 contains the proceedings of the "Conference on temperance legislation, London, 1886."
The book deals, to name a few, with the Chagall, the Jackson Pollock and the Beltracchi affairs and discusses the Isleworth Mona Lisa as well as La Bella Principessa both thought to be a Leonardo creation.
Author: Ragai Jehane
Publisher: World Scientific
'The scientific techniques described encompass relevant examples of forgery detection and of authentication. The book deals, to name a few, with the Chagall, the Jackson Pollock and the Beltracchi affairs and discusses the Isleworth Mona Lisa as well as La Bella Principessa both thought to be a Leonardo creation. The authentication, amongst others, of two van Gogh paintings, of Vermeer's St Praxedis, of Leonardo's Lady with an Ermine and of Rembrandt's Old Man with a Beard are also described.'Over the last few decades there has been a disconcerting increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries. The scientist has waged war on the forger.The Scientist and the Forger describes the cutting-edge and traditional weapons in this battle, showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger, shedding light on why the discovery that a work of art is a forgery makes us view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deception.The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity. Written in an approachable and amenable style, the book will make fascinating reading for non-specialists, art historians, curators and scientists alike.
The majority of the exhibits are from the Museum's collection and the main focus is on Western European illumination, but examples of Byzantine, Armenian, Persian and Sanskrit manuscripts are also included.
Author: S. Panayotova
Publisher: Harvey Miller
Of all the early medieval and Renaissance arts--from sculptures, ivories, frescoes, stained glass to easel and wall paintings--it is manuscript illumination, protected between its pages, that has been able to preserve the best evidence for experiencing the dazzling effects that the gold, silver and original glowing colours these objects would have had on earlier spectators. The focus therefore of this exciting and innovative exhibition is on COLOUR: it demonstrates and explains the acquisition and chemistry of pigments, the basic materials and constitution of the artist's colour palette, the technique and art of their application by the illuminator, and finally the understanding and aesthetic impact on the viewer.