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DESCARGUES, Pierre
Perspective
Harry N. Abrams 1977 Livre en anglais. In-4 broché 29,3 cm sur 22,1. 176 pages. ATTENTION : Accroc au second plat. État correct d’occasion.
Reference : 136066
ISBN : 0810914549
Etat correct d’occasion
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5 book(s) with the same title
La Pratica della perspettiva, opera molto profittevole a pittori, scultori e architetti. Précieuse et rare édition originale du grand traité d’architecture de Barbaro, le premier ouvrage de perspective pratique publié en Italie.
Séduisant exemplaire conservé dans son vélin souple du temps. L’exemplaire personnel du peintre Antoine Rivalz, avec son ex-libris manuscrit. Venetia, Camillo e Rutilio Borgominieri, 1569.In-folio de (1) f. bl., 195 pp., (6) ff. Vélin souple, titre calligraphié au dos, mouillures éparses, petites galerie de vers marginales sans aucune atteinte au texte. Reliure de l’époque.313 x 225 mm.
Précieuse édition originale de 1568, avec titre de relais, de ce rare traité.Adams, B-171 ; Berlin Kat., 4694 ; Brunet, I, 644; Cicognara, 809; Fowler, 36; Gamba, 1233; Mortimer Italian, 39 ; Censimento, 16 CNCE, 4133 ; Riccardi, I, p. 76-77.Elle est illustrée d’un très beau titre gravé et de 200 figures gravées dans le texte représentant des illusions d’optique, des formes géométriques, des perspectives, des coupes architecturales, le théâtre de Franceschi, des lettrines, les mesures du corps humain…Plusieurs états de l’édition originale sont décrits sans priorité : le premier dans lequel la date du titre et du colophon est 1568, un état intermédiaire avec le titre seul daté de 1569, un autre dans lequel les deux dates sont changées.Il s’agit du premier ouvrage de perspective pratique publié en Italie.« Opera dottissima e diligentissima” (Cicognara).Les trois bois à pleine page de scènes de théâtre proviennent du Serlio de 1566 ; d'autres sont des copies de Dürer Underweysung der messung. La dernière planche donne une belle représentation d'un instrument de mesure nouvellement inventé par Giacomo Fusto Castriotto.“Barbaro mentions a camera obscura fitted with a ci-convex lens. He introduces a novelty - the use of a diaphragm to sharpen the image. This is the first mention of a device essential in photography... " (Gernsheim, Hist. of Photogr., p. 22)Barbaro reprend dans son ouvrage les idées de Pelerin, Durero, Serlio et Cataneo en les simplifiant et en rendant la perspective plus accessible aux artistes, aux architectes aux peintres et aux sculpteurs. Il donne la première description de la « camera oscura ».“Daniele Barbaro (1514-1570) took an enthusiastic interest in perspective. He was a well-educated scholar from the Venetian nobility and had a distinguished diplomatic career, first within the political administration – spending part of this period as an ambassador to England- and later in ecclesiastical circles. His many activities included commenting on and supervising the publication of an edition of Vitruvius’s work on architecture. In 1568 Barbaro published “La pratica della pespettiva”. On the title page of the work he claims it was beneficial reading for painters, sculptors and architects. Barbaro was well acquainted with the perspective literature and covered almost all the aspects of the discipline known at the time and in a way that makes his book almost encyclopedic.” (K. Andersen).Séduisant exemplaire conservé dans son vélin souple du temps.Provenance : ex-libris manuscrit du peintre Antoine Rivalz daté de 1701 correspondant à l’année de son retour de Rome à Toulouse, après plus de dix ans en Italie. Riche de l’enseignement qu'il avait reçu à Toulouse, à Paris et à Rome, Antoine Rivalz créa un style original et varié, influencé par l'art baroque, l'art classique, les traditions picturales du XVIIe siècle et l'héritage des écoles italiennes.
Traité de Perspective linéaire, à l'usage des artistes [...] par L.-N. Lespinasse. [SUIVI DE:] De la Perspective des Batailles. Ouvrage orné de trois planches en taille douce gravées par MM. Duplessis-Bertaux et Tardieu. Par L. N. Lespinasse.
Paris, Anselin et Pochard, 1823 ; Magimel, 1809. 2 ouvrages in-8 reliés, 232 pp. et (27) pl. (1-26 et 12 bis) - (4)-39-(1) pp. et 3 pl., reliure de l'époque demi-chagrin (coiffes un peu frottées, quelques rousseurs, une planche avec quelques traits repassés en rouge).
Edition originale pour De la Perspective des Batailles. Les deux ouvrages sont complets de leurs planches gravées dépliantes (27 et 3 planches). * Voir photographie(s) / See picture(s). * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve.
Perspective as Practice. Renaissance Cultures of Optics
, Brepols, 2019 Hardback, 512 pages, Size:178 x 254 mm, Illustrations:143 b/w, 46 col., 2 maps b/w, Language: English. ISBN 9782503581071.
Summary This book is about the development of optics and perspective between the fifteenth and seventeenth centuries. The point of departure of this book is the recognition of the polysemy of perspective, that is, the plurality of meanings of perspective. To bring forward the polysemy of perspective, this book explores the history of perspectiva in terms of practices, a conglomerate of material, social, literary and reproductive practices, through which knowledge claims in perspective were produced, promoted, legitimated and circulated in and through a variety of sites and institutions. The ways optical knowledge was used by different groups in different places (such as the university classroom, the anatomist's dissection table, the goldsmith's workshop, and the astronomer's observatory) defined the meanings of Renaissance perspective. As this period was characterized by widespread 'optical literacy', perspective was defined in different ways in different places and sites by various groups of practitioners. Most interestingly, sites such as the theatre, the instrument maker's workshop and the courtly garden were home to practices of perspective which have remained on the margin, or even completely invisible, in the historiographies of optics and perspective. The book also brings out the differences between codifications of perspectiva and practice. There were a variety of non-Albertian constructions to create the illusion of space, and other types of optical knowledge were as important to artists as the geometry of perspective. TABLE OF CONTENTS Sven Dupr , Introduction I. Sites of Perspective Marvin Trachtenberg, Perspective and Artistic Form: Optical Theory and Visual Culture from Giotto to Alberti Marjolijn Bol, The Emerald and the Eye: On Sight and Light in the Artisan's Workshop and the Scholar's Study Samuel Gessner, The Perspective of the Instrument Maker: The Planispheric Projection with Gemma Frisius and the Arsenius Workshop at Louvain Tawrin Baker, Dissection, Instruction, and Debate: Visual Theory at the Anatomy Theatre in the Sixteenth Century Jaime Cuenca, The Princely Point of View: Perspectival Scenery and Aristocratic Leisure in Early Modern Courts Juliet Odgers, The Optical Construction of John Evelyn's 'Dyall Garden' at Sayes Court II. Writing on Perspective Elaheh Kheirandish, Optics and Perspective in and beyond the Islamic Middle Ages: A Study of Transmission through Multidisciplinary Sources in Arabic and Persian A. Mark Smith, The Roots and Routes of Optical Lore in the Later Middle Ages and Renaissance Dominique Raynaud, A Hitherto Unknown Treatise on Shadows Referred to by Leonardo da Vinci Sven Dupr , How-To Optics Jose Calvo Lopez, Teaching, Creating, and Using Perspective in Sixteenth-Century Spain: The Architectural Notebook of Hernan Ruiz II III. Drawing, Constructing, Painting Filippo Camerota, Masaccio's Elements of Painting: Geometrical Practice in the Trinity Fresco Pietro Roccasecca, Divided into Similar Parts: Representation of Distance and Magnitude in Leon Battista Alberti's De pictura J.V. Field, The Use of Perspective in the Art of Piero della Francesca Paul Hills, The Venetian Optics of Light and Geometry of Proportion Georges Farhat, Constructed Optics and Topographic Perspective at the Grand Canal of Versailles
La pratica di prospettiva. 2 parts. - [FUNDAMENTAL WORK ON PERSPECTIVE]
Venice, Girolamo Franceschi, 1596. Folio (400x260 mm). Two parts bound in one later (presumably 19th century) sprinkled full calf with blindstamped geometrical ornamentations to boards. Leather on back board renewed. Engraved title-page neatly restored at inner margin, far from affecting imprint" old owner's inscription (""""Ex libris Ludovici A. la...""), crossed-out previous owner's name, and traces after a stamp to title-page. With Medici arms at the top and those of Sirigatti at foot of title-page, repeated on title-page of part two. As with all other copies we have been able to locate, the title-page is trimmed, affecting approximately 1 cm of the allegorical depictions in margin. Large woodcut printer's device at the end of the volume. Light occassional discolouring, but overall in very fine condition. 1 f. (allegorical frontispiece), 3 ff. (of dedication and index), 43 plates numbered with parallel text, 1 f. (large woodcut printer's device), 22 copper engraved plates (including the title-page of the second part) numbered 44-65. I.e. 65 plates in total - fully complete.
The rare first edition of this most important work on the art of perspective: ""Questa e la più elegante delle edizioni di libri prospettici per i tipi, pei caratteri, per la carta"" (Cicognara 860). Sirigatti's work is famous for being one of the very earliest thorough works solely dedicated to the art of perspective. Combining the visual language of the German book tradition of Lencker and Jamnitzer with the Italian tradition of linear perspective treated previously by Serlio and Barbaro and earlier that of Leon Battista Alberti (unillustrated), as applied to stage design and architectural theory, this is one of the seminal Italian works on the subject of perspective. Presumably this work functioned as basis for Galileo’s drawing technique. The book quickly became very popular and several Italian editions were reprinted in the 17th century"" its reputation was so long-lived that an English translation was published no less than 160 years after the original. The work is divided in two parts: The first part is dedicated to the elementary rules of perspective to plane and solid geometric figures (which also contain musical instruments like the lute (plate 41 and 42)). The second part depicts architectural elements, facades of palaces and churches, in polyhedrons of various forms and regular Platonic solids, with several references to Luca Pacioli's ""divina proportione"". Furthermore, Sirigatti famously contributed to the study of theatrical perspective: ""He is the first to mention that the full effect of the perspective frame, for instance in a stage set, can be enjoyed only by those sitting along the main axis. This is a fundamental aspect of absolutist theater that no doubt had been noticed by designers of princely entertainments earlier, but is first commented on in print by Sirigatti, whose observations were taken up more extansively by Pietro Accolti."" (Millard).Two problems were endemic in perspective designs. First, because perspective scenery exploits the difficulty of the eyes in judging the sizes and distances of objects, it works best by assigning the spectator to a single point of vision and manipulating relative magnitudes to make small images represent objects that are larger and farther away. Second, the apparent magnitude and distance of painted objects tended to clash with the fixed size of live actors when applied to the theater, threatening to produce absurd combinations of scale when performers wandered upstage. Sirigatti was first to ""acknowledge the problem of spectator position. Sirigatti proposed a way to combine a painted perspective backdrop with fixed three-dimensional scenery that diminished in size as it neared an upstage vanishing point"". (Camp, The First Frame). Sirigatti was not only influential in the theory of architecture and stage design. ""Galileo ""most certainly studied"" La pratica di prospettiva, which was published in Venice while Galileo was teaching nearbyby in Padova, and that when Galileo and Thomas Harriot simultaneously pioneered the use of the telescope to study the moon's surface, it was Galileo's training in chiaroscuro that led him to see mountains and craters where Harriot only saw ""strange spottedness""."" (The Partnership of Art and Science: The Moon of Cigoli and Galileo).Sirigatti was a member of the Academy of Drawing (Accademia del Disegno), a school for artists and engineers (where Galileo studied as a young man). Any young artist or mathematician working his way through Sirigatti and learning to create the spikes on a ring diagram such as this would master perspective and the handling of light and shadow (chiaroscuro). Each spike must cast an appropriate shadow, not unlike the patches Galileo would later discern through his ""perspective tube"" and interpret as the shadows of mountains protruding up from the surface of the Moon.Adams S-1224Cicognara 860Fowler 336Graesse VI,417 Macclesfield 1896Mortimer 479Millard 129 (the 1625-edition)
PERSPECTIVA PICTORUM ET ARCHITECTORUM, ANDREAE PUTEI ( La perspective propre des peintres et des architectes, par André Pozzo) - Rules and Examples of Perspective proper for Painters and Architects, etc. In English and Latin: Containing a most easie and expeditious Method to Delineate in Perspective All Designs relating to Architecture, Engraven. by John Sturt. Done into English from the Original Printed at Rome 1693 in Lat. and Ital. By John James of Greenwich. [1707]
London Benjamin Motte 1707 -in-folio plein-veau un volume, reliure d'époque plein veau brun (binding full calfskin) in-folio (26,7 x 41,2 cm), dos à nerfs (spine with raised bands), décoration "or" et à froid (gilt and blind-stamping line decoration), titre frappé or (gilt title), pièce de titre sur fond bordeaux (label of title) avec double filets"or" en encadrement, double filets à froid de part et d'autre des nerfs, plats décorés à froid, d'une roulette large à froid en encadrement au centre des plats, dans un grand encadrement de deux séries de 2 filets à froid espacés de 3 cm et reliés à l'encadrement central par deux filets à froid aux angles avec fleuron à froid aux 4 angles, coins écornés (some corners dog-eared), roulette à froid sur les coupes (blind stamping fillets on the cuts), Pages de titre en latin et en anglais, texte en latin et en anglais, Orné de 105 PLANCHES HORS-TEXTE ( 1 Frontispice gravé sur bois en noir, 101 SUPERBES PLANCHES gravées sur bois en noir [ planche 53 et 53 bis] + 2 gravures gravées sur bois en noir aux 2 titres + une planche de souscription + portrait gravé de la reine Anne sur la première feuille de dédicace et nombreuses initiales gravées historiées dans le texte de John Sturt (La Planche I manque, manque 1 feuillet de texte pour décrire les figures XX et XXI et 1 feuillet de texte pour décrire les figuresXXXIV et XXXV), 1707 London: Benjamin Motte Editeur,
Andrea Pozzo, né le 30 novembre 1642 à Trente et mort le 31 août 1709 à Vienne (Autriche), est un frère laïque jésuite et peintre italien particulièrement fameux pour sa maîtrise de la perspective en peinture et en architecture.........PREMIÈRE ÉDITION EN ANGLAIS, extrait de la première partie de Perpectiva dAndrea Pozzo (Rome, 1693) de larchitecte John James (vers 1672-1746). Ses somptueuses gravures et sa clarté dans l'explication des éléments de perspective font du traité de Pozzo un travail d'une immense utilité pour les architectes et les artistes. Dans "L'approbation", Christopher Wren, John Vanbrugh et Nicholas Hawkesmoor approuvent la traduction en déclarant: "À la demande du graveur, nous avons lu ce volume de Perspective; nous le jugeons comme une oeuvre qui mérite d'être encouragée et très approprié pour l'instruction dans cet art. " Malgré le soutien et les belles Gravures, une traduction de la deuxième partie du traité de Pozzo ne parut pas et une deuxième édition de cette traduction ne fut publiée qu'en 1725. Fowler 252..................[FIRST EDITION IN ENGLISH, translated from the first part of Andrea Pozzo's Perpectiva (Rome, 1693) by the architect John James (ca 1672-1746). Its lavish plates and clarity in explaining the elements of perspective made Pozzo's treatise a work of immense usefulness to both artists and artists. In the "Approbation," Christopher Wren, John Vanbrugh, and Nicholas Hawkesmoor endorse the translation, stating: "At the request of the Engraver, We have perus'd this volume of Perspective; and judge it a work that deserves Encouragement, and very proper for Instruction in that Art." Despite the support and the beautiful plates, a translation of the second part of Pozzo's treatise did not appear, and a second edition of this translation was not published until 1725. Fowler 252.]...........RARETE.................... en bon état malgré les défauts signalés (good condition in spite of the light defects indicated). bon état intérieur
