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Art and Technology in Early Modern Europe

ISBN: 978-1-119-29168-8
248 pages
December 2016, Wiley-Blackwell
Art and Technology in Early Modern Europe (1119291682) cover image

Description

In 12 essays by a distinguished group of art historians, Art and Technology in Early Modern Europe explores the relationship between artistic and technological advances from the Renaissance to the Industrial Revolution.

  • Provides a broad definition of technology for this period and addresses the influence of technological shifts on the history of early modern art
  • Covers c.1420-1820, the time period between the advent of the printed image and that of the photographically produced image
  • Discusses a wide range of early modern artists’ tools, instruments, skills, and techniques and their historical applications
  • Highlights a frequently overlooked aspect of research within art history that yields substantial insights into the analysis of the making and viewing of art

 

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Table of Contents

6 Notes on Contributors

8 Chapter 1 After Prometheus: Art and Technology in Early Modern Europe
Genevieve Warwick and Richard Taws

20 Chapter 2 Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project
Pamela H. Smith and The Making and Knowing Project

44 Chapter 3 Works in Progress: Painting and Modelling in Seventeenth-Century Holland
Jan Blanc

64 Chapter 4 Looking in the Mirror of Renaissance Art
Genevieve Warwick

92 Chapter 5 Squaring the Circle: The Telescopic View in Early Modern Landscapes
Amy Knight Powell

112 Chapter 6 After Galileo: The Image of Science in Niccolò Tornioli’s Astronomers
Giulia Martina Weston

128 Chapter 7 The Monument to Louis XIV at the Place Vendôme (1699) as a Technical Achievement: A Question of Interest
Etienne Jollet

150 Chapter 8 A Clock Picture as a Philosophical Experiment: The Tableau Mécanique in the Physics Cabinet of Bonnier de la Mosson
Hanneke Grootenboer

166 Chapter 9 Of Air Pumps and Teapots: Joseph Wright of Derby, John Singleton Copley and the Technology of Seeing
Bryan J. Wolf

186 Chapter 10 Technologies of Illusion: De Loutherbourg’s Eidophusikon in Eighteenth-Century London
Ann Bermingham

210 Chapter 11 Telegraphic Images in Post-Revolutionary France
Richard Taws

232 Chapter 12 Seizing Attention: Devices and Desires
Barbara Maria Stafford

239 Index

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Author Information

Richard Taws is Reader in the History of Art Department at University College London, UK. He is the recipient of fellowships from the Getty, the Institute for Advanced Study, Princeton, and the Bard Graduate Center, New York, and was recently awarded a Philip Leverhulme Prize. He is the author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013) and is currently writing a book about art and technology in post-revolutionary France.

Genevieve Warwick is Editor of Art History and author of The Arts of Collecting (2000 and 2012), Bernini: Art as Theatre (2012), and Picturing Venus in the Renaissance Print (2014), as well as collections of essays on Poussin, prints and drawings and Caravaggio, and numerous articles on art collections, art and science, and architecture and urbanism. Her research has received awards from the Kress Foundation, the Leverhulme Trust, the Getty Foundation, the Arts and Humanities Research Council UK, and the Renaissance Society of America.

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