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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.
Most helpful customer reviews
30 of 32 people found the following review helpful.
an eye opening book
By drollere
i had the experience of being flooded with light and clarity when i first opened and browsed this book. my enthusiasm is in part because of kemp's extraordinary scholarship and detailed command of paintings and art publications across the entire span of western art. but it's also because the story of artistic imaging over the past six centuries is woven around the european romance with linear perspective, which has become so discredited and disliked by artists that it qualifies as a repressed memory. (like any buried memory, perspective surfaces in the dreamlike digital animations of intergalactic science fiction and first person computer games, which take perspective effects to the ultimate level of technical accuracy and artistic triviality.) kemp unearths those repressed perspective memories and shows how vital they were to the development of art and the connections between art and the wider culture of the times.
it is jaw droppingly fun to see how intensive, sophisticated and singleminded was the artistic interest in optical and perceptual issues of seeing. everyone will find special surprises here, but mine include kemp's spatial analysis of velazquez's "las meninas," and the extraordinary drawings and engravings produced c.1800, which force us to realize that we are already looking at "photo graphs," light drawings created by hand, at a time when film photography was not yet practical. there is a large section on various optical devices utilized in visual arts, including the camera obscura and camera lucida, and an excellent section on the evolving understanding and use of color, from the renaissance to seurat.
poignant for me was the victorian fascination with light as a spiritual quality, which comes through in turner's paintings and ruskin's amazing perspectival studies of "clouds" -- images that verge on op art. the intelligence and strength of these images reveal a road left untraveled in art, which turned toward the perceptually driven styles of impressionism and fauvism instead. as a bonus to the many interesting visual exhibits, the writing is lucid, sensible and alert. an invaluable publication.
5 of 5 people found the following review helpful.
The Marriage of Science and Art
By E. White
In "The Science of Art", Martin Kemp (an emeritus professor of history of art at University of Oxford who is considered one of the world's leading experts on the art of Leonardo da Vinci and visualization in art and science) details the use of geometrical science of perspective and physical science of color in painting within the time period 1400-1800. In this time, the central goal of artists and theorists was the imitation of nature based on scientific principles. This book is academic and dry as well as beautiful and complex.
I was already quite familiar with perspective, as I finished The Painter's Secret Geometry recently, so I skimmed until section two on mechanical devises. Christopher Wren's perspective machine, the Claude glass, and Pierre Edouard Frer's Zograscope fascinated me. Although it felt a bit out of place, section three is interesting for its examination of color before and after Newton.
This is an important book that will endure because its makes us aware in a new way of the continuity, complexity, and ultimately the beauty of the European ideals that have linked art and science since the Renaissance and given Western culture its unique place in history. Next up for me is: The Painter's Secret Geometry: A Study of Composition in Art - two people in my art class recommended it!
13 of 16 people found the following review helpful.
For Professional Reference
By Michael Gunther
Martin Kemp's book is actually two unrelated volumes in one. The first 2/3 of the book is a history of perspective technique, and the last 1/3 is a history of color technique, from the Renaissance to the Early Modern period of Western painting. The book is very technical (in the art-historical, not in the scientific, sense) and dry. This is a narrative history, and does not approach color theory or geometric perspective from any scientific reference point. My neutral rating of it (three stars) is a compromise between a two-star rating for the general reader and a possible four stars for the specialist reader.
General readers/practicing artists: "The Science of Art," as mentioned above, develops these specialized areas of art history in a narrowly technical way. This book will not help you to use or analyse perspective and color effects, whether in your own work or in other works that you might see in museums.
Art-history professionals: Kemp's book does provide a lot of information for those who are engaged with these subdivisions of art history on a professional basis. The author's approach is narrative/historical throughout, with very little theory or analysis. These factors make it most suitable for larger reference libraries.
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