Reseñas proporcionadas por Syndetics

Library Journal Review

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 (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

In a volume filled with some 570 illustrations, Kemp discusses European painters' imitation of nature through the sciences of perspective and color. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

Kemp, a Leonardo Da Vinci specialist, here provides a detailed history of how the sciences of perspective and of color influenced the practices and works of artists from 1400 to 1880. (Perspective is given roughly twice as many pages as color.) Developing theories of optical and geometrical space increasingly influenced perspective technique during the first half of this period. In the second half questions of how we perceive nature and growing distinctions between the arts and the sciences directed attention away from issues of perspective. The theory of physical colors, in the early centuries based on ideas attributed to Aristotle and later on the work of Newton, Young, and Maxwell, while not enabling artists to imitate nature accurately with pigments, did influence their use of color. Fully documented by 553 illustrations and diagrams, 16 color plates, and 1,278 footnote references, this is a rich and subtle history of the complex relations between artists' practices and their theoretical knowledge. The tone is temperate, the judgments are balanced, and the arguments are stated so completely that the reader needs no previous knowledge of perspective or color theory. All libraries. -A. B. Stewart, Wright State University

Notas de autor provistas por Syndetics

Martin Kemp is an actor and musician, known for being the bassist in Spandau Ballet and for his role as Steve Owen in EastEnders as well as his charitable work.