Why, how, to whom, and by whom was art taught? Lessons in Art (Netherlands Yearbook for History of Art, Vol 68) provides answers to these questions by addressing the relation between art and education in the Netherlands from 1500 to the 1970s. The authors gathered in this volume consider the practical and theoretical education of artists as well as the role of art and creativity for general education within a wide societal context. They present new ways of looking at teaching materials and methods, that were devised for the education of experts, and show how art and creativity were employed as powerful didactic tools for a general audience. From early-modernity to the present, education, it appears, fuels the production and perception of art.
Table of Contents
Ann-Sophie Lehmann & Bart Ramakers, Introduction
Caecilie Weissert, Clément Perret’s Exercitatio alphabetica (1569). A calligraphic textbook and sample book on eloquence
Koen Jonckheere, Aertsen, Rubens and the questye in early modern painting
Edward H. Wouk, From Lambert Lombard to Aby Warburg. Pathosformel as grammar
Bart Ramakers, Paper, paint, and metal foil. How to costume a tyrant in late sixteenth century Holland
Ann-Sophie Lehmann, An alphabet of colours. Valcooch’s
Rules and the emergence of sense-based learning around 1600
Jenny Boulboullé, Drawn up by a learned physician from the mouths of artisans. The Mayerne manuscript revisited
Erin Travers, Jacob van der Gracht’s Anatomie for artists
Jaya Remond, ‘Draw everything that exists in the world’. ’t Light der Teken en Schilderkonst and the shaping of art education in early modern northern Europe
Joost Keizer, Rembrandt’s nature. The ethics of teaching style in the Dutch Republic
Erin Downey, Learning in Netherlandish workshops in seventeenth-century Rome
Annemarie Kok, Do it yourself! Lessons in participation in a dynamic labyrinth in the Stedelijk Museum Amsterdam
The second volume of
Leonardo Studies explores a dual theme of nature and architecture, offering a wide-ranging overview of current Leonardo scholarship on these two abundant subjects. While Leonardo worked on his
Treatise on Painting, he noted that understanding the physical properties of nature must precede individual projects of painting or designing buildings. The volume begins with the
Trattato, and follows with physics, geology, painting that imitates architectural structure and vice-versa, and proceeds to architectural projects, questions of attribution, urban planning, and and the dissemination of Leonardo’s writings in the
Trattato and its historiography. This impressive group of articles constitutes not only new research, but also a departure point for future studies on these topics.
Contributors are: Janis Bell, Andrea Bernardoni, Marco Carpiceci, Paolo Cavagnero, Fabio Colonnese, Kay Etheridge, Diane Ghirardo, Claudio Giorgione, Domenico Laurenza, Catherine Lucheck, Silvio Mara, Jill Pederson, Richard Schofield, Sara Taglialagamba, Cristiano Tessari, Marco Versiero, and Raffaella Zama.
ad vivum and its cognates
nach dem Leben and
naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation
ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth,
ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding
ad vivum at the centre of their common concerns.
Contributors: Thomas Balfe, José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, Joanna Woodall, and Daan Van Heesch.
Art and Science in Word and Image investigates the theme of ‘riddles of form’, exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences.
Using the impact of evolutionary biologist D’Arcy Thompson’s
On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography.
Contributors are: Dina Aleshina, Márcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Étienne Février, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.
If any scientific object has over the course of human history aroused the fascination of both scientists and artists worldwide, it is beyond doubt the moon. The moon is also by far the most interesting celestial body when it comes to reflecting on the dualistic nature of photography as applied to the study of the universe. Against this background,
Selene’s Two Faces sets out to look at the scientific purpose, aesthetic expression, and influence of early lunar drawings, maps and photographs, including spacecraft imaging. In its approach,
Selene’s Two Faces is intermedial, intercultural and interdisciplinary. It brings together not only various media (photography, maps, engravings, lithographs, globes, texts), and cultures (from Europe, America and Asia), but also theoretical perspectives.
How were the relations among image, imagination and cognition characterized in the period 1500 – 1800? The authors of this volume argue that in those three centuries, a thoroughgoing transformation affected the following issues: (i) what it meant to understand phenomena in the natural world (cognition); (ii) how such phenomena were visualized or pictured (images, including novel types of diagrams, structural models, maps, etc.); and (iii) what role was attributed to the faculty of the imagination (psychology, creativity). The essays collected in this volume examine the new conceptions that were advanced and the novel ways of comprehending and expressing the relations among image, imagination, and cognition. They also shed light, from a variety of perspectives, on the elusive nexus of conceptions and practices.
This book provides bibliographic information, ownership records, a detailed worldwide census and a description of the handwritten annotations for all the surviving copies of the 1543 and 1555 editions of Vesalius’
De humani corporis fabrica. It also offers a groundbreaking historical analysis of how the
Fabrica traveled across the globe, and how readers studied, annotated and critiqued its contents from 1543 to 2017.
of Andreas Vesalius sheds a fresh light on the book’s vibrant reception history and documents how physicians, artists, theologians and collectors filled its pages with copious annotations. It also offers a novel interpretation of how an early anatomical textbook became one of the most coveted rare books for collectors in the 21st century.
Since its invention by Andrea Alciato, the emblem is inextricably connected to the natural world. Alciato and his followers drew massively their inspiration from it. For their information about nature, the emblem authors were greatly indebted to ancient natural history, the medieval bestiaries, and the 15th- and 16th-century proto-emblematics, especially the imprese. The natural world became the main topic of, for instance, Camerarius’s botanical and zoological emblem books, and also of the ‘applied’ emblematics in drawings and decorative arts. Animal emblems are frequently quoted by naturalists (Gesner, Aldrovandi). This interdisciplinary volume aims to address these multiple connections between emblematics and Natural History in the broader perspective of their underlying ideologies – scientific, artistic, literary, political and/or religious.
Contributors: Alison Saunders, Anne Rolet, Marisa Bass, Bernhard Schirg, Maren Biederbick, Sabine Kalff, Christian Peters, Frederik Knegtel, Agnes Kusler, Aline Smeesters, Astrid Zenker, Tobias Bulang, Sonja Schreiner, Paul Smith, and Karl Enenkel.
This collective study focuses on a unique anonymous medieval document on ornamental geometry featuring geometrical constructions and textual instructions in Persian. Selections from the unpublished work of Alpay Özdural (d. 2003) on this subject have been updated with original contributions by Jan P. Hogendijk, Elaheh Kheirandish, Gülru Necipoğlu, and Wheeler M. Thackston. The chapters interpreting this fascinating document are followed, for the first time, by a facsimile, transcription, and translation, as well as drawings of incised construction lines invisible in the photographed facsimile.
This publication intersects with the current interest in Islamic geometrical patterning as an inspiration for tessellation and parametrically derived forms in contemporary architecture and the arts. It aims to make this celebrated source more accessible, given its multifaceted relevance to historians of art, architecture, and science, as well as mathematicians, physicists, artists, and architects.
For those who wish to obtain a copy of the full, unedited original book manuscript of Alpay Özdural, where he discusses the mathematical properties of all geometrical constructions in the Anonymous Compendium as well as the step-by-step method for drawing each one, his work is available online at https://doi.org/10.6084/m9.figshare.5255416
Janello Torriani, known in the Spanish-speaking world as Juanelo Turriano (Cremona, Italy ca. 1500 – Toledo, Spain 1585), is the greatest among Renaissance inventors and constructors of machines. Contemporary literates and mathematicians celebrated Janello Torriani and his creations in their writings. It is striking how such fame turned into nearly complete oblivion, leaving only a few clues of a blurred and distorted memory dispersed here and there. This book wishes to show the central role that artisans formed in the Vitruvian tradition played in demonstrating through practical mathematics an increasing and positive control over Nature, a step rooted in humanist culture and foundational for the understanding of those historical processes known as the Scientific and the Industrial Revolutions.