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 41–ի 1-ից 5-ը:
... presenting himself as a painter , and his observations of the sunspots as something depicted on a canvas . The metaphor would not die : in 1630 , when Scheiner published his most significant solar theo- ries , the Rosa Ursina , he ...
... presented both in perspective manuals and in countless paintings themselves , Galileo and his peers tended to see the argument in much more polemical fashion . Those who accepted it would have been almost invariably showing their ...
... presented by Clearchus lay in the suitability of the mirrored image : the shape on the lunar surface simply did not look much like Oceanus . The artistic metaphor , how- ever , remained intact and appears especially popular in the early ...
... presented , I have chosen , apart from the obvious excep- tion of Rubens's Self - Portrait , to concentrate on sacred painting , limiting my argument to two Adorations , one Deposition , and three Immaculate Conceptions , and I have ...
... presentation of spiritual and scientific progress as insep- arable . This is to say — and Cigoli does , I think , say it , with a particular reading of the Johannine gospel — that Scripture now could and should be accommodated to the ...
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 |