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Author:   Richard Taws ,  Genevieve Warwick
Publisher:   John Wiley and Sons Ltd
Imprint:   Wiley-Blackwell
Dimensions:   Width: 20.80cm , Height: 1.50cm , Length: 27.40cm
Weight:   0.885kg
ISBN:  

9781119291688

ISBN 10:   1119291682
Pages:   248
Publication Date:   30 December 2016
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Available To Order  
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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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