Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe by Alina PayneVision and Its Instruments: Art, Science, and Technology in Early Modern Europe by Alina Payne

Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe

EditorAlina Payne

Hardcover | March 20, 2015

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Starting with Brunelleschi’s invention of perspective and Galileo’s invention of the telescope—two inaugural moments in the history of vision, from two apparently distinct provinces, art and science—this volume of essays by noted art, architecture, science, philosophy, and literary historians teases out the multiple strands of the discourse about sight in the early modern period. Looking at Leonardo and Gallaccini, at botanists, mathematicians, and artists from Dante to Dürer to Shakespeare, and at photography and film as pointed modern commentaries on early modern seeing, Vision and Its Instruments revisits the complexity of the early modern economy of the image, of the eye, and of its instruments. The book explores the full range of early modern conceptions of vision, in which mal’occhio (the evil eye), witchcraft, spiritual visions, and phantasms, as well as the artist’s brush and the architect’s compass, were seen as providing knowledge equal to or better than newly developed scientific instruments and practices (and occasionally working in conjunction with them). The essays in this volume also bring a new dimension to the current discourse about image production and its cultural functions.

Alina Payne is Alexander P. Misheff Professor of History of Art and Architecture at Harvard University. Alina Payne is Alexander P. Misheff Professor of History of Art and Architecture at Harvard University.
Title:Vision and Its Instruments: Art, Science, and Technology in Early Modern EuropeFormat:HardcoverDimensions:304 pages, 10.35 × 9.35 × 1.28 inPublished:March 20, 2015Publisher:Penn State University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0271063890

ISBN - 13:9780271063898

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Table of Contents

Contents

List of Illustrations

Introduction, Alina Payne

I. Epistemic Images

1 Epistemic Images, Lorraine Daston

2 Drawing as an Instrument of Knowledge: The Case of Conrad Gessner, Sachiko Kusukawa

3 Aesthetic Appreciation of Nature in Early Modern Science, Catherine Wilson

II. Seeing the Unseeable

4 Leonardo’s Point, Frank Fehrenbach

5 Beyond the Eye: Observing the Unseen in Mathematics and Architecture, Alina Payne

6 Dante’s Eyes and the Abysses of Seeing: Poetical Optics and Concepts of Images in the Divine Comedy, Gerhard Wolf

7 The Invisible Element in Art: Dürer, Shakespeare, Donne, Carla Mazzio

III. The Painter’s Brush and the Mind’s Eye

8 “Art on the Tip of the Brush”: A Blind Manœuvre? Reflections on Correggio’s Brush, Arent de Gelder’s Spatula, and Pietro Testa’s Figure of Practice, Nicola Suthor

9 White Earth, or How to Cultivate Color in the Field of Painting: Still Life and Baroque Color Theory, Karin Leonhard

10 Counterfeit Chimeras: Early Modern Theories of the Imagination and the Work of Art, Claudia Swan

IV. Looking Back: From Photography and Film to Alberti

11 Sculpture Before Photography, Michael Cole

12 From Alberti’s Finestra Aperta to Hitchcock’s Rear Window: Avatars of the Scopic Drive in Painting and Film, Victor I. Stoichita

List of Contributors

Index

Editorial Reviews

“The question shared by all of the interesting contributions to this volume concerns sight itself: What can be seen, how far, how well? Alina Payne has collected twelve excellent essays on the fundamental cognitive problems that vision has posed for both science and art from Galileo’s discoveries of the moon's surface to the present day. The contributors—historians of science and art, well-known specialists in their fields, working in the United States, Germany, the United Kingdom, Italy, and Switzerland—effectively communicate the results of their recent research. The volume’s brilliant illustrations heighten the pleasure that it will bring to the reader.”—Oskar Bätschmann, University of Bern and Swiss Institute for Art Research