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 68–ի 1-ից 5-ը:
... question of terrestrial reflection and the in- habited planets as the inescapable conclusion drawn by all who saw the cosmos as heliocentric : What if the sun Be centre to this world , and other stars By his attractive virtue and their ...
... question of a variously illuminated portrait of a woman's face . He noted , therefore , that over the course of an evening the moon appeared to look up and then down , such that an observer would see now more of her chin , now more of ...
... questions relating the doctrinal to the scientific , paintings in which the sacred subject matter is nuanced by an astronomical argument seem to me of the greatest interest and significance . I have begun with two pretelescopic works ...
... either a Ptolemaic or Tychonic world system to the " too bright colors and excessive darkness of the shadows " of a portrait painted without adequate attention to the question of secondary light , implying THE ARTIST AND THE ASTRONOMER 21.
Art and Science in the Age of Galileo Eileen Reeves. adequate attention to the question of secondary light , implying that such light was both the hallmark of a good painting , and at that point the single most important argument for 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 |