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Esoteric sciences --- Art --- History of civilization --- Western Europe --- Claude glasses --- Optische reflectie --- Reflectie [Optische ] --- Reflection (Optics) --- Reflection (Physics) --- Réflexion optique --- Landscape painting --- Technique

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À la fois scientifique, artistique et philosophique, La Lumière au siècle des lumières et aujourd’hui vise à confronter l’évolution de la connaissance et du développement des techniques à celle de l’art et du goût en s’appuyant sur les recherches et les découvertes effectuées au XVIIIe siècle. La présentation simultanée d’œuvres d’art, d’objets et documents scientifiques, leur intégration à l’histoire des idées illustrent l’impact du développement du savoir et de la méthode scientifique dans l’évolution des mentalités qui conduisit à la mise en place d’une société civile républicaine et démocratique.

Optics. Quantum optics --- Art --- anno 1700-1799 --- France --- Lumière --- Eclairage --- Effet-miroir --- Clair-obscur --- Ombre --- Histoire de l'art --- Science --- Optique --- Perception --- Anatomie --- Technique --- 18e siècle --- 19e siècle --- 20e siècle --- Art and science --- Europe --- 18th century --- Exhibitions --- Effet miroir

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Color has recently become the focus of scholarly discussion in many fields, but the categories of art, craft, science and technology, unreflectively defined according to modern disciplines, have not been helpful in understanding color in the early modern period. 'Color worlds', consisting of practices, concepts and objects, form the central category of analysis in this volume. The essays examine a rich variety of 'color worlds', and their constituent engagements with materials, productions and the ordering and conceptualization of color. Many color worlds appear to have intersected and cross-fertilized at the beginning of the seventeenth century; the essays focus especially on the creation of color languages and boundary objects to communicate across color worlds, or indeed when and why this failed to happen. -- Back cover

Color in art --- Art, Modern --- Art, Renaissance --- Couleur dans l'art --- Art --- Art de la Renaissance --- colors [hues or tints] --- color [perceived attribute] --- Aesthetics of art --- Optics. Quantum optics --- anno 1600-1699 --- anno 1500-1599 --- Europe --- Couleur --- Couleurs --- Optique. --- Couleur (art) --- Vision des couleurs. --- Color --- Symbolism of colors. --- Optics. --- Color in art. --- Color vision. --- Histoire. --- Aspect symbolique. --- History. --- Optique --- Vision des couleurs --- Color. --- Color symbolism --- Symbolic colors --- Colors --- Physics --- Light --- Chromatic vision --- Color discrimination --- Color perception --- Color-sense --- Visual perception --- Colors in art --- Monochrome art --- Chromatics --- Colour --- Chemistry --- Optics --- Thermochromism --- Psychological aspects --- kleurenleer

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Art --- Affective and dynamic functions --- Gezichtsbedrog in het kunst --- Illusions d'optique dans l'art --- Optical illusions in art --- Optics [Psychological ] --- Painting [Trompe l'oeil ] --- Peinture en trompe l'oeil --- Perceptie [Visuele ] --- Perception [Visual ] --- Perception visuelle --- Trompe l'oeil painting --- Trompe l'oeil schilderkunst --- Vision--Psychological aspects --- Visual perception --- Visuele perceptie --- Visuele waarneming --- Waarneming [Visuele ]

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In Art and Representation, John Willats presents a radically new theory of pictures. To do this, he has developed a precise vocabulary for describing the representational systems in pictures: the ways in which artists, engineers, photographers, mapmakers, and children represent objects. His approach is derived from recent research in visual perception and artificial intelligence, and Willats begins by clarifying the key distinction between the marks in a picture and the features of the scene that these marks represent. The methods he uses are thus closer to those of a modern structural linguist or psycholinguist than to those of an art historian. Using over 150 illustrations, Willats analyzes the representational systems in pictures by artists from a wide variety of periods and cultures. He then relates these systems to the mental processes of picture production, and, displaying an impressive grasp of more than one scholarly discipline, shows how the Greek vase painters, Chinese painters, Giotto, icon painters, Picasso, Paul Klee, and David Hockney have put these systems to work.


But this book is not only about what systems artists use but also about why artists from different periods and cultures have used such different systems, and why drawings by young children look so different from those by adults. Willats argues that the representational systems can serve many different functions beyond that of merely providing a convincing illusion. These include the use of anomalous pictorial devices such as inverted perspective, which may be used for expressive reasons or to distance the viewer from the depicted scene by drawing attention to the picture as a painted surface. Willats concludes that art historical changes, and the developmental changes in children's drawings, are not merely arbitrary, nor are they driven by evolutionary forces. Rather, they are determined by the different functions that the representational systems in pictures can serve.

Aesthetics of art --- Gezichtsbedrog --- Illusions d'optique --- Oblique projection --- Optical illusions --- Optics [Psychological ] --- Perceptie [Visuele ] --- Perception [Visual ] --- Perception visuelle --- Perspectief --- Perspective --- Projection [Oblique ] --- Vision--Psychological aspects --- Visual perception --- Visuele perceptie --- Visuele waarneming --- Waarneming [Visuele ] --- Visual perception. --- Perspective. --- Optical illusions. --- Oblique projection. --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Illusions, Optical --- Hallucinations and illusions --- Physiological optics --- Psychological aspects --- art criticism --- philosophy of art