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 57–ի 1-ից 5-ը:
... tion of the Pauline Chapel , the apprentice Sigismondo Coccapani , made observations of both moonspots and sunspots , and taught his master Cigoli how to avoid damage to his eyesight by using a technique where , because the spots were ...
... tion that occurs when a bright light , falling on a certain kind of surface , is reflected to and scattered over a second surface . Galileo used the term to argue that the dark and opaque earth , when struck by the sun's rays , was ...
... tion of an inhabited moon was of peculiar interest.45 It cannot be a coinci- dence that the manner in which Heymus was described reflects this very ambiguity , the expression egregius probusque pictor referring either to a particularly ...
... tion of the secondary light may have emerged , and I show how the Depo- sition of 1607 , completed about eighteen months before the invention of the telescope , serves as a focal point for the painter's knowledge of light and shadow ...
... tion and the tone of Pignoria's next letter , for both suggest that his friends were amused rather than enlightened by his professed distaste for the painter Parmigianino and his opposition of the wunderkammer to the royal gallery ...
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 |