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In this illustrated book, Martin Kemp examines the major optically oriented examples of artistic theory and practice, from Brunelleschi's invention of perspective and its exploitation by Leonardo and Duerer to the beginnings of photography. In a discussion of colour theory, Kemp traces two main traditions of colour science - the Aristotelian tradition of primary colours and Newton's prismatic theory that influenced Runge, Turner and Seurat. His book provides information for all those interested in the interaction between science and art.
- Sales Rank: #304572 in Books
- Published on: 1992-04-22
- Original language: English
- Number of items: 1
- Dimensions: 11.08" h x 1.21" w x 9.99" l, 4.00 pounds
- Binding: Paperback
- 383 pages
From Publishers Weekly
In a volume filled with some 570 illustrations, Kemp discusses European painters' imitation of nature through the sciences of perspective and color.
Copyright 1992 Cahners Business Information, Inc.
From Library Journal
This work, one of the most lucidly written art history books in recent memory, addresses a topic of inherent complexity and great recent interest. Kemp (Univ. of St. Andrews), who has written on Leonardo, discusses perspective and optic theories as they related to the central problem of European painting for half a millennium, the verisimilar depiction of nature. The first part of the book discusses perspective theory and practice and the use of devices that led toward photography. In the second part, Kemp explores optic theories derived from Aristotle and from Newton and their theoretical and practical impacts on painting. The only minor cavil is the unclear order of the select bibliography; otherwise, this is a superb and thoughtful book, with a level of writing to which few can aspire. Highly recommended for general as well as special collections.
- Jack Perry Brown, Ryerson & Burnham Libs . , Art Inst. of Chicago
Copyright 1990 Reed Business Information, Inc.
From the Back Cover
For almost five hundred years the central goal of European painting was the imitation of nature. Many artist and theorists, believing that imitation must be based on scientific principles, found inspiration or guidance in two branches of optics--the geometrical science of perspective and the physical science of colour. In this pathbreaking and highly illustrated book Martin Kemp examines the major optically orientated examples of artistic theory and practice from the Renaissance to the nineteenth century.
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