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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 2 of 2 (0.071 seconds)Spelling suggestions: "subject:"inguisition"" "subject:"acguisition""
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Artemisia Gentileschi and Caravaggio's looking glassGrundy, Susan Audrey 06 1900 (has links)
Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the
concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a
shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father
Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the
camera obscura effect. Painting from a projection meant that Artemisia could achieve
an extreme form of realism and detail in her work. This knowledge, which was of
necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
manipulate the technology, an extreme competitive edge over their rivals. This
dissertation challenges the naive assumptions that have been made about Artemisia's
working practices, effectively ignoring the strong causal links between art and science
in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up
her story to a whole new generation of scholarship. / Art History / M.A. (Art history)
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| 2 |
Artemisia Gentileschi and Caravaggio's looking glassGrundy, Susan Audrey 06 1900 (has links)
Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the
concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a
shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father
Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the
camera obscura effect. Painting from a projection meant that Artemisia could achieve
an extreme form of realism and detail in her work. This knowledge, which was of
necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to
manipulate the technology, an extreme competitive edge over their rivals. This
dissertation challenges the naive assumptions that have been made about Artemisia's
working practices, effectively ignoring the strong causal links between art and science
in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up
her story to a whole new generation of scholarship. / Art History / M.A. (Art history)
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