书名：The Shadow Drawing: How Science Taught Leonardo How to Paint / 影绘：科学如何教会列奥纳多绘画
定价：245.0
ISBN：9780374261962
作者：Francesca Fiorani
版次：1
出版时间：2020-11

内容提要：

书名：The Shadow Drawing: How Science Taught Leonardo How to Paint / 阴影素描：科学如何教会达·芬奇绘画
作者：Francesca Fiorani
出版社：Farrar, Straus and Giroux，2020年
装帧：精装，374页
语种：英文
尺寸：约 16.5*24.2*3.8 cm
ISBN：978-0-3742-6196-2

简介

列奥纳多·达·芬奇长久以来因其无与伦比的天才而备受赞誉。他是《蒙娜丽莎》和《最后的晚餐》的创作者，也是预见了飞机、热气球和其他技术奇迹的发明家。但画家达·芬奇与科学家达·芬奇之间有何关联？文艺复兴艺术史学家们长期认为达·芬奇随着年龄增长而日益对科学产生兴趣，将好奇心转向新领域，并认为实际上存在着两个达·芬奇——一个艺术家和一个发明家。

在这一开创性的新解读中，艺术史学家弗朗西斯卡·菲奥拉尼提出了不同的观点。通过重新审视达·芬奇著名但难以解读的笔记以及其他资料，菲奥拉尼论证了达·芬奇在佛罗伦萨画室当学徒时就已熟悉关于人类视觉的前沿思想，并运用他对光学科学的理解来发展和完善其绘画技法。对达·芬奇而言，画家的任务是捕捉人物主体的内在生命，描绘其灵魂。在职业生涯之初，他就相信掌握光、影和大气层的科学研究至关重要。最终，他将这些思想写进了《绘画论》——一部他认为自己最伟大成就的著作，尽管这部著作在后来的几个世纪中被扭曲、忽视和遗失。

本书既是一部文化史，也是一项艺术侦探工作，通过追踪《绘画论》的命运，重新发现这位文艺复兴大师失落的遗产。全书包含“科学如何教会达·芬奇绘画”、“达·芬奇如何绘画”、“达·芬奇如何教授艺术科学”及“达·芬奇的艺术科学如何失落与重现”等章节。

A history of Leonardo da Vinci's interest in optical science and its influence on his art. Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo's celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio, and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries.