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Index
Cover Page
Title Page
Copyright Page
Contents
List of illustrations
Notes on contributors
Acknowledgments
1 Introduction
2 Classical optics and the perspectivae traditions leading to the Renaissance
3 Meanings of perspective in the Renaissance: Tensions and resolution
4 Criminal vision in early modern Florence: Fra Angelico’s altarpiece for “Il Tempio” and the Magdalenian gaze
5 Donatello’s Chellini Madonna, light, and vision
6 Perception as a function of desire in the Renaissance
7 Leonardo da Vinci’s theory of vision and creativity: The Uffizi Annunciation
8 At the boundaries of sight: The Italian Renaissance cloud putto
9 Gesture and perspective in Raphael’s School of Athens
10 Seeing and the transfer of spirits in early modern art theory
11 “All in him selfe as in a glass he sees”: Mirrors and vision in the Renaissance
12 “Nearest the tangible earth”: Rembrandt, Samuel van Hoogstraten, George Berkeley, and the optics of touch
Bibliography
Index
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