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In The Mirror, the Window, and the Telescope, Samuel Y. Edgerton brings fresh insight to a subject of perennial interest to the history of art and science in the West: the birth of linear perspective. Edgerton retells the fascinating story of how perspective emerged in early fifteenth-century Florence, growing out of an artistic and religious context in which devout Christians longed for divine presence in their daily lives. And yet, ironically, its discovery would have a profound effect not only on the history of art but on the history of science and technology, ultimately undermining the very medieval Christian cosmic view that gave rise to it in the first place. Among Edgerton's cast of characters is Filippo Brunelleschi, who first demonstrated how a familiar object could be painted in a picture exactly as it appeared in a mirror reflection. Brunelleschi communicated the principles of this new perspective to his artist friends Donatello, Masaccio, Masolino, and Fra Angelico. But it was the humanist scholar Leon Battista Alberti who codified Brunelleschi's perspective rules into a simple formula that even mathematically disadvantaged artists could understand.By looking through a window the geometric beauties of this world were revealed without the theological implications of a mirror reflection. Alberti's treatise, "On Painting," spread the new concept throughout Italy and transalpine Europe, even influencing later scientists including Galileo Galilei. In fact, it was Galileo's telescope, called at the time a "perspective tube," that revealed the earth to be not a mirror reflection of the heavens, as Brunelleschi had advocated, but just the other way around. Building on the knowledge he has accumulated over his distinguished career, Edgerton has written the definitive, up-to-date work on linear perspective, showing how this simple artistic tool did indeed change our present vision of the universe.

optics --- Aesthetics of art --- perspective [technique] --- art theory --- History of civilization --- Angelico [Fra] --- Brunelleschi, Filippo --- Masaccio --- Raphael --- Galilei, Galileo --- Alberti, Leon Battista --- Donatello --- anno 1500-1599 --- anno 1400-1499 --- Perspective --- Visual perception --- Art, Renaissance. --- History. --- Perception visuelle --- Art de la Renaissance --- Hitsoire

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In this book the authors investigate how iconology as a field and method, which originated within art history, relates to recent developments in the Humanities such as Anthropology and Visual Studies. The main questions are: How has iconology evolved in the past decennia, could it incorporate Anthropology and Visual Studies towards a new science of images? How have new disciplines profited from iconology and how can they in turn inspire and/or reinvent iconology? These questions are addressed within a wide historical and geographical scope, as we regard the tracing of pictorial meaning throughout time and space an essential characteristic of iconology. The selected specialists of this volume all have a specific involvement with the new tendencies in iconology today. The authors share their lectures, ideas, methods, old and current research for one common goal: the further study and exploration of the making, the meaning and the migration of images in art history.

Academic collection --- 7.04 --- 39 --- 39 Volkenkunde. Zeden en gebruiken. Culturele antropologie --- Volkenkunde. Zeden en gebruiken. Culturele antropologie --- 7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Art and anthropology. --- Art and society. --- Art --- Visual perception. --- History. --- Themes, motives. --- Philosophical anthropology --- Iconography --- Illustrations, images, etc. --- Interprétation --- Art et société --- Perception visuelle --- Art et anthropologie --- Histoire --- Symbolism in art --- Arts --- Themes, motives --- MAD-faculty 12 --- iconologie --- antropologie

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Art --- Optics [Psychological ] --- Perceptie [Visuele ] --- Perception [Visual ] --- Perception visuelle --- Vision--Psychological aspects --- Visual perception --- Visuele perceptie --- Visuele waarneming --- Waarneming [Visuele ] --- Art, European --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- #A0305H --- Art museum directors --- Art, European. --- Directors of art museums --- Art museums --- Museum directors --- Employees --- Os, H. W. van. --- Os, Henk van --- Van Os, H. W. --- Van Os, Henk --- Rijksmuseum (Netherlands) --- Musée royal (Netherlands) --- Amsterdam (Netherlands). --- Rijks-Museum (Netherlands) --- Amsterdam. --- Reichsmuseum zu Amsterdam (Netherlands) --- Ryksmuseum (Netherlands) --- Rijksmuseum Amsterdam --- Psychology --- Biography

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Cette exposition s'attache à la genèse du courant de l'abstraction. L'éclosion de l'art abstrait dans les années 1910 marque l'aboutissement logique d'une lente évolution qui eut lieu tout au long du XIXe siècle et qui ne concerne pas seulement la peinture, mais aussi les sciences et les techniques, la littérature et la philosophie, la musique. L'exposition présente un vaste domaine, et propose des idées neuves, des interprétations inédites qui rompent avec un certain conformisme de pensée. En fin d'ouvrage une chronologie de 1800 à 1914 en sciences et techniques & en art et esthétique nous est proposé

Painting --- Abstract [fine arts style] --- Art styles --- anno 1800-1999 --- Art, European --- Modernism (Art) --- Art, Abstract --- Visual perception --- Art européen --- Modernisme (Art) --- Art abstrait --- Perception visuelle --- Exhibitions. --- Expositions --- abstracte kunst --- romantiek --- expressionisme --- impressionisme --- 1800 - 1914 --- 19de eeuw --- 20ste eeuw --- Balla, Giacomo --- Baranov-rossine, Vladimir --- Blechen, Karl --- Boccioni, Umberto --- Bomberg, David --- Bruce, Patrick Henry --- Cardoso, Amadeo De Souza --- Carriere, Eugène --- Charchoune, Serge --- Ciurlionis, Mikalojus Konstantinas --- Delaunay, Robert --- Delaunay, Sonia --- Derain, André --- Ender, Xenia --- Exter, Alexandra --- Friedrich, Caspar David --- Gontcharova, Nathalie S. --- Hablik, Wenzel --- Hartley, Marsden --- Itten, Johannes --- Kandinsky, Wassily --- Klee, Paul --- Kupka, Frantisek --- Larionov, Mikhaïl Fiodorovitch --- Leger, Fernand --- Macdonald-wright, Stanton --- Macke, August --- Marc, Franz --- Matiouchine, Mikhaïl --- Mondrian, Piet --- Monet, Claude --- Munch, Edvard --- Nolde, Emil --- Picabia, Francis --- Redon, Odilon --- Rottmann, Carl --- Runge, Philipp Otto --- Russell, Morgan --- Schmalzigaug, Jules --- Schoenberg, Arnold --- Schwind, Moritz Von --- Severini, Gino --- Shkolnik, Iossif --- Signac, Paul --- Survage, Léopold --- Trachsel, Albert --- Turner, Joseph Mallord William --- Van Gogh, Vincent --- Volpedo, Giuseppe Pellizza Da --- Whistler, James Abbott Mcneill --- Serge Lemoine --- kunst --- kunsttheorie --- kunstgeschiedenis --- schilderkunst --- beeldhouwkunst --- negentiende eeuw --- twintigste eeuw --- abstractie --- kleur --- kleurenleer --- Friedrich Caspar David --- Turner Joseph Mallord William --- Rottman Carl --- Monet Claude --- Derain André --- Blechen Karl --- Van Gogh Vincent --- Carrière Eugène --- Schönberg Arnold --- Whistler James Abbott Mcneill --- Redon Odilon --- Nolde Emil --- Hablik Wenzel August --- Trachsel Albert --- Munch Edvard --- Balla Giacomo --- Pellizza da Volpedo Giuseppe --- Kupka Frantisek --- Klee Paul --- Delaunay Robert --- Macke August --- Itten Johannes --- Shkolnik Jossif --- Larionov Mikhaïl --- Severini Gino --- Schmalzigaug Jules --- Goncharova Natalia --- de Souza Cardoso Amadeo --- Russell Morgan --- MacDonald-Wright Stanton --- Delaunay Sonia --- tekenkunst --- kunst en muziek --- Runge Philipp Otto --- Ciurlionis Mikalojus Konstantinas --- Signac Paul --- Mondrian Piet --- Mondriaan Piet --- Charchoune Serge --- Kandinsky Wassily --- Baranov-Rossiné Vladimir --- Matiouchine Mikhaïl --- Ender Xenia --- Survage Léopold --- Exter Alexandra --- Marc Franz --- Boccioni Umberto --- Léger Fernand --- Bruce Patrick Henry --- Bomberg David --- Picabia Francis --- 7.036 --- 75.036 --- Exhibitions --- Art européen --- Abstract art --- Art, Non-objective --- Non-objective art --- Art, Modern --- abstracte, niet-figuratieve kunst --- Art, European - 19th century - Exhibitions --- Modernism (Art) - Europe - Exhibitions --- Art, Abstract - Europe - Exhibitions --- Visual perception - Exhibitions --- 1800 - 1914. --- 19de eeuw. --- 20ste eeuw. --- Abstract [modern European style]