Piero Della Francesca Tra Arte E Scienza
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Metaphysical Mathematics 111
JOLE DE SANNA: METAPHYSICAL MATHEMATICS 111 METAPHYSICAL MATHEMATICS Jole de Sanna The metaphysical act imposes an identity that requires a terminology deal- ing with opposites. Dedicated to the geometric functions of metaphysical painting, the following study demonstrates how, from two extremities of history, Pythagorean harmony and modern mathematical physics come together in de Chirico’s work, upholding the space of the painting. At the dawn of the last century, for the young “Faust” descendants of Goethe, space was the valet of time. In 1906, de Chirico and his adoles- cent peers in Munich enclosed interiority and psychic flow inside “time”. Oswald Spengler writes that “one’s own”, destiny and time are mutable terms.1 De Chirico appropriates the perception of cosmic rhythm as a “voyager in time and within himself”. In the paintings, the natural science of the past – Pythagorean harmony – reaches the frontiers of modern physics in a unity of time constituted as “one’s own”. With fixed attention on “his” epoch, the artist superimposes two different phases of history and visions of the universe. At the beginning of the twentieth century, the concentration of energy focused on art was parallel to the expansion of mathematics and theoretical physics. To the trained eye, the connection between these endeavours is evident. The paintings analysed here trace out a genealogy of space in this order: • the fulfilment of harmony and the Golden Ratio in a Pythagorean and Platonic context (from Timaeus) in the first metaphysical paintings (1910- 12) situated in relation to the Universe or Infinite, as well as the rediscov- ery of the scenography of Ancient Rome and the use of modern theatre technology to define the metaphysical piazza (town square) inside the uniform polyhedron; 1 O. -
Michael Kühn Detlev Auvermann RARE BOOKS
ANTIQUARIAT 55Michael Kühn Detlev Auvermann RARE BOOKS 1 Rolfinck’s copy ALESSANDRINI, Giulio. De medicina et medico dialogus, libris quinque distinctus. Zurich, Andreas Gessner, 1557. 4to, ff. [6], pp. AUTOLYKOS (AUTOLYCUS OF PYTANE). 356, ff. [8], with printer’s device on title and 7 woodcut initials; a few annotations in ink to the text; a very good copy in a strictly contemporary binding of blind-stamped pigskin, the upper cover stamped ‘1557’, red Autolyci De vario ortu et occasu astrorum inerrantium libri dvo nunc primum de graeca lingua in latinam edges, ties lacking; front-fly almost detached; contemporary ownership inscription of Werner Rolfinck on conuersi … de Vaticana Bibliotheca deprompti. Josepho Avria, neapolitano, interprete. Rome, Vincenzo title (see above), as well as a stamp and duplicate stamp of Breslau University library. Accolti, 1588. 4to, ff. [6], pp. 70, [2]; with large woodcut device on title, and several woodcut diagrams in the text; title a little browned, else a fine copy in 19th-century vellum-backed boards, new endpapers. EUR 3.800.- EUR 4.200.- First edition of Alessandrini’s medical dialogues, his most famous publication and a work of rare erudition. Very rare Latin edition, translated from a Greek manuscript at the Autolycus was a Greek mathematician and astronomer, who probably Giulio Alessandrini (or Julius Alexandrinus de Neustein) (1506–1590) was an Italian physician and author Vatican library, of Autolycus’ work on the rising and setting of the fixed flourished in the second half of the 4th century B.C., since he is said to of Trento who studied philosophy and medicine at the University of Padua, then mathematical science, stars. -
The Mazzocchio in Perspective
Bridges 2011: Mathematics, Music, Art, Architecture, Culture The Mazzocchio in Perspective Kenneth Brecher Departments of Astronomy and Physics Boston University Boston, MA 02215, U.S.A. E-mail: [email protected] Abstract The mazzocchio was a part of 15th century Italian headgear. It was also a kind of final exam problem for students of perspective. Painted by Uccello, drawn by Leonardo, incorporated into intarsia and prints through the 16th century, it still appears occasionally in 21st century art. Here we review its history; show 3D models made by hand in wood and using stereolithography in plastic; and report two novel visual effects seen when viewing the 3D models. Brief History of the Mazzocchio in Paintings and in Graphics The origins of the kind of geometrical mazzocchios discussed in this paper are obscure. They are said to derive from supports for headgear worn in Renaissance Italy during the 15th century. No actual three- dimensional examples survive from that period. Mazzocchios are featured in three major paintings by Paolo Uccello made between 1456 and 1460 and in his fresco of “The Flood” (Figure 1a). Leonardo Da Vinci also illustrated them and may have built models of the skeletal version in the late 15th century (cf. Figure 2a). Whether the wooden “checkerboard” version was actually worn on the head or around the neck is unclear. It seems more likely that a fabric version could have actually functioned as a headpiece. Figures 1 a (l.) & b (r.): (a) Detail from the fresco in Florence “The Flood and Waters Subsiding” by Paolo Uccello (ca. 1448) and (b) a pen and ink perspective study of a mazzocchio by Paolo Uccello (in the Louvre, Paris). -
Piero Della Francesca
the cambridge companion to Piero della Francesca Edited by Jeryldene M. Wood University ofIllinois, Urbana-Champaign published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Fairfield Medium 10.5/13 pt. System QuarkXPress® [GH] A catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The Cambridge companion to Piero della Francesca / edited by Jeryldene M. Wood. p. cm. – (Cambridge companions to the history of art) Includes bibliographical references and index. isbn 0-521-65254-5 – ISBN 0-521-65472-6 (pbk.) 1. Piero, della Francesca, 1416?–1492 – Criticism and interpretation. 2.Art, Renaissance – Italy. 3. Art, Italian – 15th century. I. Wood, Jeryldene. II. Series. ND623.F78 C26 2002 759.5 – dc21 2001043485 isbn 0 521 65254 5 hardback isbn 0 521 65472 6 paperback I. Encyclopedias and dictionaries ag5.c26 1990 031-dc20 isbn 0 521 39538 3 hardback isbn 0 521 39539 3 paperback Contents List of Illustrations page vii Acknowledgments xiii Contributors xv Introduction 1 Jeryldene M. -
Reposs #11: the Mathematics of Niels Henrik Abel: Continuation and New Approaches in Mathematics During the 1820S
RePoSS: Research Publications on Science Studies RePoSS #11: The Mathematics of Niels Henrik Abel: Continuation and New Approaches in Mathematics During the 1820s Henrik Kragh Sørensen October 2010 Centre for Science Studies, University of Aarhus, Denmark Research group: History and philosophy of science Please cite this work as: Henrik Kragh Sørensen (Oct. 2010). The Mathematics of Niels Henrik Abel: Continuation and New Approaches in Mathemat- ics During the 1820s. RePoSS: Research Publications on Science Studies 11. Aarhus: Centre for Science Studies, University of Aarhus. url: http://www.css.au.dk/reposs. Copyright c Henrik Kragh Sørensen, 2010 The Mathematics of NIELS HENRIK ABEL Continuation and New Approaches in Mathematics During the 1820s HENRIK KRAGH SØRENSEN For Mom and Dad who were always there for me when I abandoned all good manners, good friends, and common sense to pursue my dreams. The Mathematics of NIELS HENRIK ABEL Continuation and New Approaches in Mathematics During the 1820s HENRIK KRAGH SØRENSEN PhD dissertation March 2002 Electronic edition, October 2010 History of Science Department The Faculty of Science University of Aarhus, Denmark This dissertation was submitted to the Faculty of Science, University of Aarhus in March 2002 for the purpose of ob- taining the scientific PhD degree. It was defended in a public PhD defense on May 3, 2002. A second, only slightly revised edition was printed October, 2004. The PhD program was supervised by associate professor KIRSTI ANDERSEN, History of Science Department, Univer- sity of Aarhus. Professors UMBERTO BOTTAZZINI (University of Palermo, Italy), JEREMY J. GRAY (Open University, UK), and OLE KNUDSEN (History of Science Department, Aarhus) served on the committee for the defense. -
Reflections on the Pragmatics of the Illustrated Perspective Treatise Performative Failures and (Pre-) Romantic Innovations Eduardo Ralickas
Document generated on 09/25/2021 8:06 a.m. Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Reflections on the Pragmatics of the Illustrated Perspective Treatise Performative Failures and (Pre-) Romantic Innovations Eduardo Ralickas exposer Article abstract displaying This essay reconsiders visual demonstrations contained in a selection of Number 15, printemps 2010 illustrated perspective treatises. Based on a fundamental distinction made in the field of pragmatics, the author argues that the images designed to URI: https://id.erudit.org/iderudit/044680ar demonstrate/teach/instantiate the perspectival system are plagued by a DOI: https://doi.org/10.7202/044680ar contradiction between the conceptual “content” of perspective and the figurative means deployed to display such content. In all cases, this aporia, which defines the teaching of perspective by means of images, arises when the See table of contents figurative discourse of perspective attempts to integrate a representation of its user within the system itself. In closing, the author suggests that the perspective treatise’s “pragmatic unconscious” allows one to shed new light on Publisher(s) the pictorial innovations of German romanticism, particularly in the work of Caspar David Friedrich, which is tied to fundamental (and hitherto unforeseen) Revue Intermédialités (Presses de l’Université de Montréal) ways to the “failures” of the classical age. ISSN 1705-8546 (print) 1920-3136 (digital) Explore this journal Cite this article Ralickas, E. (2010). Reflections on the Pragmatics of the Illustrated Perspective Treatise: Performative Failures and (Pre-) Romantic Innovations. Intermédialités / Intermediality, (15), 163–185. -
Sources and Studies in the History of Mathematics and Physical Sciences
Sources and Studies in the History of Mathematics and Physical Sciences Editorial Board J.Z. Buchwald J. Lützen G.J. Toomer Advisory Board P.J. Davis T. Hawkins A.E. Shapiro D. Whiteside Springer Science+Business Media, LLC Sources and Studies in the History of Mathematics and Physical Seiences K. Andersen Brook Taylor's Work on Linear Perspective H.l.M. Bos Redefining Geometrical Exactness: Descartes' Transformation of the Early Modern Concept of Construction 1. Cannon/S. Dostrovsky The Evolution of Dynamics: Vibration Theory from 1687 to 1742 B. ChandIerlW. Magnus The History of Combinatorial Group Theory A.I. Dale AHistory of Inverse Probability: From Thomas Bayes to Karl Pearson, Second Edition A.I. Dale Most Honourable Remembrance: The Life and Work of Thomas Bayes A.I. Dale Pierre-Simon Laplace, Philosophical Essay on Probabilities, Translated from the fifth French edition of 1825, with Notes by the Translator P. Damerow/G. FreudenthallP. McLaugWin/l. Renn Exploring the Limits of Preclassical Mechanics: A Study of Conceptual Development in Early Modem Science: Free Fall and Compounded Motion in the Work of Descartes, Galileo, and Beeckman, Second Edition P.l. Federico Descartes on Polyhedra: A Study of the De Solworum Elementis B.R. Goldstein The Astronomy of Levi ben Gerson (1288-1344) H.H. Goldstine A History of Numerical Analysis from the 16th Through the 19th Century H.H. Goldstine A History of the Calculus of Variations from the 17th Through the 19th Century G. Graßhoff The History of Ptolemy's Star Catalogue A.W. Grootendorst Jan de Witt's Eiementa Curvarum Linearum, über Primus Continued after Index The Arithmetic of Infinitesimals John Wallis 1656 Translated from Latin to English with an Introduction by Jacqueline A. -
Perception As a Function of Desire in the Renaissance John S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DOCS@RWU Roger Williams University DOCS@RWU School of Architecture, Art, and Historic School of Architecture, Art, and Historic Preservation Faculty Publications Preservation 2008 Perception as a Function of Desire in the Renaissance John S. Hendrix Roger Williams University, [email protected] Follow this and additional works at: http://docs.rwu.edu/saahp_fp Part of the Arts and Humanities Commons Recommended Citation Hendrix, John S., "Perception as a Function of Desire in the Renaissance" (2008). School of Architecture, Art, and Historic Preservation Faculty Publications. Paper 7. http://docs.rwu.edu/saahp_fp/7 This Conference Proceeding is brought to you for free and open access by the School of Architecture, Art, and Historic Preservation at DOCS@RWU. It has been accepted for inclusion in School of Architecture, Art, and Historic Preservation Faculty Publications by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. 6 Perception as a Function of Desire in the Renaissance De amore, or the Commentary on Plato’s Symposium, was written in 1469, after Marsilio Ficino had finished translating the works of Plato for the Med- ici family. It was not published until 1484, when it was included with Fici- no’s translations of Plato’s works from Greek to Latin. Ficino’s definition of beauty follows the Platonic definition as depending on a universal principle, that is, as given by language. According to Ficino, that which pleases the soul must be an incorporeal beauty, a conceptual representation not based in sense perception. -
The Geometry of an Art. the History of Perspective From
Book Review Kirsti Andersen The Geometry of an Art. The History of Perspective from Alberti to Monge New York : Springer, 2007 Reviewed by João Pedro Xavier Faculdade de Arquitectura da Universidade do Porto (FAUP) Via Panorâmica S/N 4150-755 Porto P ORTUGAL [email protected] Keywords: Kirsti Andersen, perspective, perspective geometry, Leon Battista Alberti, Gaspard Monge, Guidobaldo del Monte Kirsti Andersen’s book, The Geometry of an Art. The History of Perspective from Alberti to Monge , will surely become one of the fundamental references concerning the mathematical development of perspectiva artificialis , from the first steps, found in De Pictura (1435) up to its integration in the last edition of Géométrie Descriptive (1820). Given the wide scope of this study and the author’s methodology, based on an extensive and careful analysis of “more than two hundred books, booklets, and pamphlets on perspective” [Introduction, xxi], The Geometry of an Art is a monumental work, the work of a lifetime, one could say. The author’s lifetime has been filled with accurate investigations on perspective that has already given rise to some of the most important titles about its history regarding the work of Piero della Francesca, Stevin, Desargues and Brook Taylor, among others. This is actually a book of history of science dealing with a specific branch of geometry, that is, perspective. Although perspective became the geometry of an art, because its history is related to the conquest of exactitude in the representation of space from an identifiable point of projection (the artist’s viewpoint), the main scope of this book is to narrate the process leading towards the definition of a mathematical theory of perspective: My primary sources do not give an adequate background for discussing thoroughly the highly pertinent question of the actual use of perspective in paintings, architectural illustrations, and other drawings [Introduction, xxiii]. -
The Digitally Reconstructed Architectural Object in the Age of Post-Orthography
THE DIGITALLY RECONSTRUCTED ARCHITECTURAL OBJECT IN THE AGE OF POST-ORTHOGRAPHY A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY BERİL ÖNALAN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE AUGUST 2020 Approval of the thesis: THE DIGITALLY RECONSTRUCTED ARCHITECTURAL OBJECT IN THE AGE OF POST-ORTHOGRAPHY submitted by BERİL ÖNALAN in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Cânâ Bilsel Head of the Department, Architecture Assoc. Prof. Dr. İpek Gürsel Dino Supervisor, Architecture, METU Assist. Prof. Dr. Pelin Yoncacı Arslan Co-Supervisor, Architecture, METU Examining Committee Members: Assoc. Prof. Dr. Ela Alanyalı Aral Architecture, METU Assoc. Prof. Dr. İpek Gürsel Dino Architecture, METU Assist. Prof. Dr. Pelin Yoncacı Arslan Architecture, METU Assist. Prof. Dr. Pınar Aykaç Architecture, METU Assist. Prof. Dr. Başak Uçar Architecture, TEDU Date: 24.08.2020 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Beril Önalan Signature : iv ABSTRACT THE DIGITALLY RECONSTRUCTED ARCHITECTURAL OBJECT IN THE AGE OF POST-ORTHOGRAPHY Önalan, Beril Master of Architecture, Architecture Supervisor: Assoc. Prof. Dr. İpek Gürsel Dino Co-Supervisor: Assist. Prof. Dr. Pelin Yoncacı Arslan August 2020, 106 pages In his much-quoted essay "The Work of Art In The Age of Mechanical Reproduction," Walter Benjamin discusses that original artworks have an inherent aura and emphasizes the importance of material authenticity, arguing that mechanical reproduction leads to the loss of that auratic and iconic qualities. -
The Historiography of Perspective and Reflexy-Const in Netherlandish
The Historiography of Perspective and Reflexy-Const in Netherlandish Art Sven Dupré Introduction In The Heritage of Apelles Ernst Gombrich famously drew a distinction between art North and South of the Alps along optical lines. Painters in fifteenth-century Florence, such as Domenico Veneziano, used different optical features than their contemporaries in Bruges, the likes of Jan Van Eyck, to create the illusion of space. Gombrich commented: „We all associate Florentine art with the development of central perspective, and thus with the mathematical method of revealing form in ambient light. The other aspect of optical theory, the reaction of light to various surfaces, was first explored in modern times by painters North of the Alps. It was there that the mastery of lustre, sparkle and glitter was first achieved, permitting the artist to convey the peculiar character of materials. Indeed, for a time, during the first decades of the fifteenth century, the two schools of painting appeared thus to have divided the kingdom of appearances between them.‟1 While Italian painters of the fifteenth century used perspective, Netherlandish artists studied and painted the reflection of light from surfaces of different textures and materials to create the illusion of space. For Gombrich, the point of contact between North and South was Leonardo da Vinci, „the greatest explorer of natural appearances‟, who must have been „a keen student of Northern painting‟.2 Here I am less interested in Gombrich‟s geography of optics, but more in how his juxtaposition of perspective and painterly light reflects and complicates the historiography of perspective. For reasons which fall outside the scope of this paper, since the seminal work of 1 Erwin Panofsky linear perspective has become a locus classicus of the study of artistic practice and science, and the history of perspective, which Panofsky in Die Perspektive als symbolische Form (1927) disconnected from optics, a field of research of its own, independent from the history of science and the history of art. -
The National Edition of De Prospectiva Pingendi: a Philological Approach to the Drawings in the Treatise Laura Carlevaris
3 / 2018 Readings/Rereadings The National Edition of De Prospectiva Pingendi: a Philological Approach to the Drawings in the Treatise Laura Carlevaris The monumental editorial initiative to study on the manuscripts written by the need to ensure the protection, enhan- publish a National Edition of De pro- painter and treatise writer from Sanse- cement and fruition of our literary spectiva pingendi by Piero della Fran- polcro. The initial results of these new heritage and philosophy, as embodied cesca (Sansepolcro c. 1410-1492) has studies was the publication of the Libel- by the written texts of Italian authors: recently been completed. The initiative lus de quinque corporibus regularibus in in fact, these initiatives guarantee the is sponsored by the Ministry of Cultu- 1995 [Piero della Francesca 1995]. publication of the opera omnia of an ral Heritage and Activities and Tourism The Ministry nominated Cecil Grayson, author (or, in some cases, the most im- (MiBACT) and the Fondazione Piero who had edited the vulgate texts writ- portant works of a group of authors) della Francesca [1]. The book, published ten by Leon Battista Alberti [Alberti in editions based on the identification by the State Mint and Polygraphic In- 1960-1973], as chair of the scientific and critical transcription of all perti- stitute, is the third volume in the epic commission. He was later as chair re- nent manuscripts. They propose all the series –the National Edition of Writings placed by another member of the com- published and unpublished texts of an by Piero della Francesca– established by mission, Marisa Dalai Emiliani, currently author and use all available documenta- Presidential Decree 26.2.1974 and ini- assisted by two co-chairs: Ottavio Be- tion to clarify the history and structure tiated in 1985.