Painting the Heavens: Art and Science in the Age of GalileoPrinceton University Press, 1997 - 310 էջ 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. |
From inside the book
Արդյունքներ 53–ի 1-ից 5-ը:
... depiction of new discoveries in their work , just as the central figures in the debates over supernovae , moonspots ... depicted astronomical discovery not as a scientific controversy , but rather as a quarrel between painters : As when ...
... depicting the changing skies may have been beyond most artists , it was also in 1611 that Lodo- vico Cigoli and his fellow painter Domenico Cresti ( " il Passignano " ) di- vided their time between decorating the Pauline Chapel of Santa ...
... depicted on a canvas . The metaphor would not die : in 1630 , when Scheiner published his most significant solar theo- ries , the Rosa Ursina , he adorned it with a lengthy discussion — running to fifty folio pages of that Apellean ...
... depicts men , plants , buildings , birds , fishes , and in a word represents every visible ob- ject , without any ... depict anything but birds or feather dusters . " 20 The latter art , that of inlaid stones , he associated repeatedly ...
... depicted , " " painted , " or " fashioned with light and shadow . " Some of these terms , of course , had more relevance to optics than to conscious artistic production ; to choose the most obvious instance , Johannes Kepler — who ...
Բովանդակություն
15991602 First Reflections on the Moons Secondary Light | 23 |
16041605 Neostoicism and the New Star | 57 |
16051607 Mutual Illumination | 91 |
16101612 In the Shadow of the Moon | 138 |
16141621 The Buen Pintor of Seville | 178 |
NOTES | 221 |
BIBLIOGRAPHY | 277 |
299 | |
Այլ խմբագրություններ - View all
Painting the Heavens: Art and Science in the Age of Galileo Eileen Adair Reeves Դիտել հնարավոր չէ - 1997 |