000			03084cam a22003978i 4500
001			on1136961986
003			OCoLC
005			20201214133558.0
008			200617t20202020nyuaf b 001 0 eng
010			_a 2020027807
040			_aDLC _beng _erda _cDLC _dOCLCO _dERASA _dOCLCF _dUAP _dGO6 _dNFG
020			_a9780374261962 _q(hardcover)
020			_a0374261962 _q(hardcover)
035			_a(OCoLC)1136961986
042			_apcc
092			_a759.5 _bF517
049			_aNFGA
100	1		_aFiorani, Francesca, _eauthor.
245	1	4	_aThe shadow drawing : _bhow science taught Leonardo how to paint / _cFrancesca Fiorani.
250			_aFirst edition.
264		1	_aNew York : _bFarrar, Straus and Giroux, _c2020.
264		4	_c©2020
300			_a374 pages, 8 unnumbered pages of plates : _billustrations (some color) ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_a"Bibliography: A history of Leonardo da Vinci's interest in optical science and its influence on his art"-- Provided by publisher.
504			_aIncludes bibliographical references (pages 303-349) and index.
505	0		_aHow 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		_aLeonardo 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	0	0	_aLeonardo, _cda Vinci, _d1452-1519 _xKnowledge _xOptics.
600	0	0	_aLeonardo, _cda Vinci, _d1452-1519. _tCodice C.
650		0	_aOptics and art _xHistory.
650		0	_aPainting _xTechnique _xHistory. _961582
994			_aC0 _bNFG
999			_c319079 _d319079