MARC details
| 000 -LEADER |
|---|
| fixed length control field |
03084cam a22003978i 4500 |
| 001 - CONTROL NUMBER |
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| control field |
on1136961986 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
OCoLC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
|---|
| control field |
20201214133558.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
200617t20202020nyuaf b 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER |
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| LC control number |
2020027807 |
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
DLC |
| Language of cataloging |
eng |
| Description conventions |
rda |
| Transcribing agency |
DLC |
| Modifying agency |
OCLCO |
| -- |
ERASA |
| -- |
OCLCF |
| -- |
UAP |
| -- |
GO6 |
| -- |
NFG |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
9780374261962 |
| Qualifying information |
(hardcover) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
0374261962 |
| Qualifying information |
(hardcover) |
| 035 ## - SYSTEM CONTROL NUMBER |
|---|
| System control number |
(OCoLC)1136961986 |
| 042 ## - AUTHENTICATION CODE |
|---|
| Authentication code |
pcc |
| 092 ## - LOCALLY ASSIGNED DEWEY CALL NUMBER (OCLC) |
|---|
| Classification number |
759.5 |
| Item number |
F517 |
| 049 ## - LOCAL HOLDINGS (OCLC) |
|---|
| Holding library |
NFGA |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
|---|
| Personal name |
Fiorani, Francesca, |
| Relator term |
author. |
| 245 14 - TITLE STATEMENT |
|---|
| Title |
The shadow drawing : |
| Remainder of title |
how science taught Leonardo how to paint / |
| Statement of responsibility, etc |
Francesca Fiorani. |
| 250 ## - EDITION STATEMENT |
|---|
| Edition statement |
First edition. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE STATEMENTS |
|---|
| Place of production, publication, distribution, manufacture |
New York : |
| Name of producer, publisher, distributor, manufacturer |
Farrar, Straus and Giroux, |
| Date of production, publication, distribution, manufacture |
2020. |
| 264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE STATEMENTS |
|---|
| Date of production, publication, distribution, manufacture |
©2020 |
| 300 ## - PHYSICAL DESCRIPTION |
|---|
| Extent |
374 pages, 8 unnumbered pages of plates : |
| Other physical details |
illustrations (some color) ; |
| Dimensions |
24 cm |
| 336 ## - CONTENT TYPE |
|---|
| Content Type Term |
text |
| Content Type Code |
txt |
| Source |
rdacontent |
| 337 ## - MEDIA TYPE |
|---|
| Media Type Term |
unmediated |
| Media Type Code |
n |
| Source |
rdamedia |
| 338 ## - CARRIER TYPE |
|---|
| Carrier Type Term |
volume |
| Carrier Type Code |
nc |
| Source |
rdacarrier |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
|---|
| Bibliography, etc |
"Bibliography: A history of Leonardo da Vinci's interest in optical science and its influence on his art"-- Provided by publisher. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
|---|
| Bibliography, etc |
Includes bibliographical references (pages 303-349) and index. |
| 505 0# - FORMATTED CONTENTS NOTE |
|---|
| Formatted contents note |
How science taught Leonardo how to paint -- How Leonardo painted -- How Leonardo taught the science of art -- How Leonardo's science of art was lost and found. |
| 520 8# - SUMMARY, ETC. |
|---|
| Summary, etc |
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? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos--an artist and an inventor. 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. |
| 600 00 - SUBJECT ADDED ENTRY--PERSONAL NAME |
|---|
| Personal name |
Leonardo, |
| Titles and other words associated with a name |
da Vinci, |
| Dates associated with a name |
1452-1519 |
| General subdivision |
Knowledge |
| -- |
Optics. |
| 600 00 - SUBJECT ADDED ENTRY--PERSONAL NAME |
|---|
| Personal name |
Leonardo, |
| Titles and other words associated with a name |
da Vinci, |
| Dates associated with a name |
1452-1519. |
| Title of a work |
Codice C. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name as entry element |
Optics and art |
| General subdivision |
History. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name as entry element |
Painting |
| General subdivision |
Technique |
| -- |
History. |
| 9 (RLIN) |
61582 |
| 994 ## - |
|---|
| -- |
C0 |
| -- |
NFG |
