A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow

By Babette Bohn, James M. Saslow

A spouse to Renaissance and Baroque artwork offers a various, clean choice of available, accomplished essays addressing key matters for ecu paintings produced among 1300 and 1700, a interval that may be termed the start of contemporary history.
• provides a suite of unique, in-depth essays from paintings specialists that deal with quite a few elements of ecu visible arts made from circa 1300 to 1700
• Divided into 5 extensive conceptual headings: Social-Historical components in creative construction; inventive technique and Social Stature of the Artist; the item: artwork as fabric tradition; The Message: topics and Meanings; and The Viewer, the Critic, and the Historian: Reception and Interpretation as Cultural Discourse
• Covers many themes now not in general incorporated in collections of this nature, reminiscent of Judaism and the humanities, architectural treatises, the worldwide Renaissance in arts, the recent ordinary sciences and the humanities, artwork and faith, and gender and sexuality
• positive aspects essays at the arts of the household existence, sexuality and gender, and the artwork and creation of tapestries, conservation/technology, and the metaphor of theater
• specializes in Western and vital Europe and that territory's interactions with neighboring civilizations and far away discoveries
• comprises illustrations in addition to hyperlinks to pictures now not incorporated within the book 

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Extra info for A Companion to Renaissance and Baroque Art

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70 v. Manufacturing techniques for steel strips Pieces of the Puzzle Fig. 9. Madrid MS I, f. 1 v 33 34 Chapter II · Leonardo’s Programmable Automaton and Lion Fig. 10. Madrid MS I, f. 24 r Pieces of the Puzzle Fig. 11. Leonardo’s family coat of arms I suspect drawings showing complex automata were once part of the eight folios that were removed at some point in time before the Madrid codices were published. As shown in the Reti edition, they are ff. 11 If this is indeed the mechanism that supported the fabulous Robot Lion, the beast, which would have been supported by the base mechanism, may have been based on Leonardo’s family coat of arms—an upright lion (Fig.

And if this were indeed an escapement mechanism, all the cables, differentials and details imagined by scholars would fall away, revealing not Leonardo’s primitive striving toward an automobile but rather his fully developed design for a working automaton. ” Only recently have I discovered that the above machine is also related to the top perspective figure of CA, 296 v-a [812 r] (Fig. 15). My reinterpretation is shown in Fig. 16. 39 Chapter II · Leonardo’s Programmable Automaton and Lion Indeed, this reinterpretation and the Uffizi sheets show how critical to Leonardo the escapement was.

Theoretical studies of gear geometry are also present. Cams in a myriad of forms are shown, beginning on Madrid MS I, f. 1 v and 24 r (Figs. 10, pp. 33 and 34) Leonardo engages the curved surfaces on the inside and outside, and mixes gears with cams to produce hybrids. One would expect that such detailed studies would appear with other drawings showing the practical demonstrations of their use in sophisticated automata. But with the exception of an astronomical clock, such drawings do not appear in Madrid MS I.

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A Companion to Renaissance and Baroque Art by Babette Bohn, James M. Saslow
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