Vermeer's Camera

Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This book is an intellectual detective story, meticulously reconstructing the artist's studio, complete with a camera obscura, providing exciting new evidence to support the view that Vermeer did indeed use the camera.

Informationen zum Autor Philip Steadman is Professor of Urban and Built Form Studies at University College London. He trained as an architect, and has taught at Cambridge University and the Open University. He has published several books on geometry in architecture, and on computer-aided design. In the 1960s he edited and published Form, a quarterly magazine of the arts, and co-authored a book on kinetic art. He helped to produce four computer-animated films on the work of Leonardo da Vinci for an exhibition in London in 1989. He has also contributed to other exhibitions, films, and books on perspective geometry and the history of art. Vermeer's Camera is the product of twenty years' fascination with the Dutch painter. Klappentext Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This book is an intellectual detective story, meticulously reconstructing the artist's studio, complete with a camera obscura, providing exciting new evidence to support the view that Vermeer did indeed use the camera. Zusammenfassung Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This intellectual detective story starts by exploring Vermeer's possible knowledge of seventeenth-century optical science, and outlines the history of this early version of the photographic camera, which projected an accurate image for artists to trace. However, it is Steadman's meticulous reconstruction of the artist's studio, complete with a camera obscura, which provides exciting new evidence to support the view that Vermeer did indeed use the camera.These findings do not challenge Vermeer's genius but show how, like many artists, he experimented with new technology to develop his style and choice of subject matter. The combination of detailed research and a wide range of contemporary illustrations offers a fascinating glimpse into a time of great scientific and cultural innovation and achievement in Europe. Inhaltsverzeichnis Introduction 1: The camera obscura 2: The discovery of Vermeer's use of the camera 3: Who taught Vermeer about optics? 4: A room in Vermeer's house? 5: Reconstructing the spaces in Vermeer's paintings 6: The riddle of the Sphinx of Delft 7: More evidence, from rebuilding Vermeer's studio 8: Arguments against Vermeer's use of the camera 9: The influence of the camera on Vermeer's painting style Appendices Further Reading A. Architectural features appearing in Vermeer's interiors B. Measurements of Vermeer's room and furniture ...

Autorentext
Philip Steadman is Professor of Urban and Built Form Studies at University College London. He trained as an architect, and has taught at Cambridge University and the Open University. He has published several books on geometry in architecture, and on computer-aided design. In the 1960s he edited and published Form, a quarterly magazine of the arts, and co-authored a book on kinetic art. He helped to produce four computer-animated films on the work of Leonardo da Vinci for an exhibition in London in 1989. He has also contributed to other exhibitions, films, and books on perspective geometry and the history of art. Vermeer's Camera is the product of twenty years' fascination with the Dutch painter.

Inhalt
Introduction
1: The camera obscura
2: The discovery of Vermeer's use of the camera
3: Who taught Vermeer about optics?
4: A room in Vermeer's house?
5: Reconstructing the spaces in Vermeer's paintings
6: The riddle of the Sphinx of Delft
7: More evidence, from rebuilding Vermeer's studio
8: Arguments against Vermeer's use of the camera
9: The influence of the camera on Vermeer's painting style
Appendices
Further Reading
A. Architectural features appearing in Vermeer's interiors
B. Measurements of Vermeer's room and furniture

#	Onlineshop	Preis CHF	Versand CHF	Total CHF
1	Seller	0.00	0.00	0.00