자료유형  

 학위논문

Control Number  

0016931458

International Standard Book Number  

9798379719920

Dewey Decimal Classification Number  

505

Main Entry-Personal Name  

Cochrane, Sally Fama.

Publication, Distribution, etc. (Imprint  

[S.l.] : Princeton University., 2023

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2023

Physical Description  

1 online resource(360 p.)

General Note  

Source: Dissertations Abstracts International, Volume: 84-12, Section: A.

General Note  

Advisor: Guenther, Katja;Burnett, D. Graham.

Dissertation Note  

Thesis (Ph.D.)--Princeton University, 2023.

Restrictions on Access Note  

This item must not be sold to any third party vendors.

Summary, Etc.  

요약"Science at the Nineteenth-Century Ecole des Beaux-Arts" investigates the knowledge and technical skills that artists affiliated with the school of the French Academy used to make realistic drawings and paintings. By examining artists' treatises, manuals, and memoirs, this dissertation finds concrete links between the history of science and the history of Academic art. Chapter 1 traces artists' understanding of three optical illusions -- simultaneous contrast, irradiation, and size constancy -- before and after scientists wrote about these phenomena. This chapter shows how artists developed studio techniques to see the illusions rather than be fooled by them. It discusses why, in some cases, artists and scientists recommended exaggerating the illusions on the canvas, while in others, they recommended discounting them. Chapter 2 investigates how the sine law of photometry, which determines the apparent brightness of a point given the angle of incident light, united fine arts draftsmanship and the technical drawing of the Ecole Polytechnique in the early nineteenth century. It explains how the two groups shared a common goal of precisely rendering a three-dimensional form on a two-dimensional surface using light and shade. Chapter 3 discusses artists' knowledge about color at the time Albert Henry Munsell, who invented one of the first widely-accepted scientific color systems, trained in the ateliers of Paris. It argues that several novel features of the Munsell Color System were apparent in artists' writings. Chapters 4 and 5 describe what comprised the science of "artistic anatomy," how it developed over the course of the century by incorporating information from a variety of other sciences, and how artistic anatomists ultimately promoted their work as its own discipline that would be useful to anthropologists, physicians, and surgeons. These chapters also document how artists used their anatomical knowledge in practice. Throughout, the dissertation argues that artists learned about the sciences of perception, light, and anatomy to overcome the shortcomings of their materials, since pigments cannot reach the same brightness as lights, and a flat canvas cannot represent the living, moving model. It also suggests several ways in which artists may have influenced contemporary sciences in return. 

Subject Added Entry-Topical Term  

Science history.

Subject Added Entry-Topical Term  

Art history.

Subject Added Entry-Topical Term  

European history.

Index Term-Uncontrolled  

Academic art

Index Term-Uncontrolled  

Sciences

Index Term-Uncontrolled  

Artistic anatomy

Index Term-Uncontrolled  

Color science

Index Term-Uncontrolled  

French academy

Index Term-Uncontrolled  

Optical illusions

Added Entry-Corporate Name  

Princeton University History of Science

Host Item Entry  

Dissertations Abstracts International. 84-12A.

Host Item Entry  

Dissertation Abstract International

Electronic Location and Access  

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Control Number  

joongbu:642410