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Author: Robert D. Huerta
Publisher: Bucknell University Press
ISBN: 0838756069
Category : Art
Languages : en
Pages : 149
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Book Description
There are thirty-six illustrations."--Jacket.
Author: Robert D. Huerta
Publisher:
ISBN: 9781611482249
Category : Art
Languages : en
Pages : 0
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Book Description
In a study that sweeps from Classical Antiquity to the seventeenth century, Robert D. Huerta explores the common intellectual threads that link the art of Johannes Vermeer to the philosophy of Plato. Examining the work of luminaries such as Plotinus, Nicholas of Cusa, St. Augustine, Ficino, Raphael, Keller, Galileo, Descartes, and Hoydens, Huerta argues that the concurrence of idealism and naturalism in Vermeer's art reflects the Dutch master's assimilation of Platonic and classical ideals, concepts that were part of the Renaissance revival of classical thought. Pursuing a Platonic path, Vermeer used his paintings as a visual dialectic, as part of his program to create a physical instantiation of the Ideal. This book is the result of years of reflection on the creative commonalities to be found in signal art and pioneering scientific discoveries.
Author: Benjamin Binstock
Publisher: Routledge
ISBN: 1136087060
Category : Art
Languages : en
Pages : 459
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Book Description
Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life. On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.
Author: Ivan Gaskell
Publisher: Reaktion Books
ISBN: 9781861890726
Category : Architecture
Languages : en
Pages : 274
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Book Description
Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.
Author: Philip Steadman
Publisher:
ISBN: 9780192803023
Category : Art
Languages : en
Pages : 238
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Book Description
Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.
Author: Kazuo Ueno
Publisher: Xlibris Corporation
ISBN: 1483663914
Category : Philosophy
Languages : en
Pages : 91
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Book Description
How 17th Century Dutch Painter Johannes Vermeer s idea was ifluenced from Christian Huygens? Perhaps in the sense of subconsciousness and eventually how it was realized by the method so called "Mitate" (look alike) in his painting as Heaven & Earth correspondence. His painting represents "Universe" itself."
Author: Sister Wendy Beckett
Publisher: SPCK
ISBN: 0281078564
Category : Religion
Languages : en
Pages : 134
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Book Description
Join Sister Wendy on a journey through Lent, and discover the timeless wisdom to be found in some of the world’s greatest paintings. Illustrated in full colour with over forty famous and lesser-known masterpieces of Western art, this beautiful book will lead you into a deeply prayerful response to all that these paintings convey to the discerning eye. ‘For those who want to appreciate the spirituality behind some of the world’s greatest works of art, this book will be hugely inspiring – not only during Lent but at any time of the year.’ Dr Janina Ramirez, art historian and broadcaster
Author: I. M. Crombie
Publisher: Routledge
ISBN: 0415632161
Category : Philosophy
Languages : en
Pages : 418
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Book Description
Volume 2 deals with more technical philosophical topics, including the theory of knowledge, philosophy of nature, and the methodology of science and philosophy. Each volume is self-contained.
Author: Silke Horstkotte
Publisher: Cambridge Scholars Publishing
ISBN: 1527566501
Category : Philosophy
Languages : en
Pages : 320
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Book Description
What do we see when we see, how do we perceive vision itself, and how do we speak and write about seeing and perception? The articles collected in this volume attempt to observe the constitution of perception, be it of a visual field or visible objects, but also of images which emerge in the mind, e.g. that of the reader in the act of reading. The act of vision is profoundly impure, and ‘seeing’ very much entails other modes of sense-based perception such as listening, touching, feeling, tasting or smelling. Various modes of seeing can moreover be observed within literary texts or in music, dreams, memory or all kinds of bodily experiences like dance, pain, sexuality etc., so that there cannot be any such thing as a clearly defined realm called ‘visuality.’ Moreover, ‘seer’ and ‘seen’ are mutually permeable in any visual practice, reflecting on the reciprocal relationship between the visuality of objects and the very act of looking, which could be understood not only as a sensual experience but also as an interaction, an intellectual performance and interpretation. But if there exists this inseparable bond between object and spectator, how can we distance ourselves from the act of looking and ‘show seeing,’ how is it possible to talk and write about ‘seeing perception’? The impurity of the visual, and the contextuality of all acts of looking, constitutes a common thread running through the articles collected in this volume. The ways in which images are perceived in Western culture are inextricably linked with verbal and textual structures and ways of thinking. However, the contributions in this volume are less concerned with the practical, political implications of a visual culture which formed the backbone of visual studies research a few years ago, and more with an adequate understanding of the various concepts and operations at work in theories of visual perception, of seeing, the gaze, and of focalisation.
Author: Ron Voller
Publisher: Springer Nature
ISBN: 3030821811
Category : Science
Languages : en
Pages : 453
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Book Description
The story of Hubble and Humason is one for the ages—and in particular, the Cosmic Age. In this compelling book, science writer Ron Voller digs deep into how and why the two scientists continued to investigate their theory of universal expansion in the face of persistent doubt, contrary theories, and calamitous world events. The evolution of this dynamic duo’s tenuous friendship and professional partnership is in many ways as intriguing as their groundbreaking work on the evolution of the universe. The book therefore traces their lives from their childhoods into their burgeoning careers, revealing how a World War and their own personal differences stood in the way of initial cooperation. It then shows how despite all this, the two opposites eventually came together in the pursuit of something far greater than themselves. This grand story is inextricably interwoven with that of Albert Einstein, Willem de Sitter, and other great physicists of the era, all of whom took part in the staggering quest to make sense of the Big Bang and what followed. “Edwin Hubble has often been considered as an island of sorts—a lone wolf of astronomy. But Voller’s book shows otherwise, as he examines Milt Humason’s essential contributions to our understanding of the expanding universe.” - Daniel Lewis, Dibner Senior Curator, History of Science & Technology, The Huntington Library
Author: J.F. Martel
Publisher: North Atlantic Books
ISBN: 1583945784
Category : Philosophy
Languages : en
Pages : 209
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Book Description
Part treatise, part critique, part call to action, Reclaiming Art in the Age of Artifice is a journey into the uncanny realities revealed to us in the great works of art of the past and present. Received opinion holds that art is culturally-determined and relative. We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world. While holding this to be true of authentic art, the author acknowledges the presence—overwhelming in our media-saturated age—of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival. Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.
