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The Resource The artist's eyes : vision and the history of art, Michael F. Marmor and James G. Ravin

The artist's eyes : vision and the history of art, Michael F. Marmor and James G. Ravin

Creator
Author
Contributor
Summary
From the Publisher: In this fascinating juxtaposition of science and art history, ophthalmologists Michael Marmor and James Ravin examine the role of vision and eye disease in art. They focus on the eye, where the process of vision originates, and investigate how aspects of vision have inspired and confounded many of the world's most famous artists. Why do Georges Seurat's paintings appear to shimmer? How come the eyes in certain portraits seem to follow you around the room? Are the broad brushstrokes in Monet's Water Lilies due to cataracts? Could van Gogh's magnificent yellows be a result of drugs? How does eye disease affect the artistic process? Or does it at all? The Artist's Eyes considers these questions and more. Using key works of art as well as innovative illustrations that simulate different artists' vision, Marmor and Ravin shed new light on the story of art
Language
eng
Work
Publication
Extent
223 p.
Contents
  • Acknowledgments
  • About the authors
  • Introduction
  • Part 1: Eye As An Optical Instrument
  • 1: Why glasses are needed
  • 2: Myth of impressionism and myopia
  • 3: El Greco
  • 4: Euphronios: a presbyopic potter in ancient Athens
  • Part 2: Coding And Contrast
  • 5: Thinking eye: coding vision
  • 6: Mach bands: the artist's "edge"
  • 7: Light and dark/day and night
  • Part 3: Addition Of Color
  • 8: Recognizing color
  • 9: Circle of color: Turner, Newton, and Goethe
  • 10: Yellow vision of van Gogh
  • 11: Seurat, color science, and Neo-Impressionism
  • 12: Matisse and the implications of color
  • 13: Chuck Close and the pixelated image
  • Part 4: Limitations Of Color
  • 14: Color deficiency: a different vision
  • 15: Artist with a defect in color vision: Charles Meryon
  • 16: Secret of Paul Henry
  • Part 5: Perspective And Illusion
  • 17: Perspective on perspective
  • 18: Art with different perspectives
  • 19: Illusion and art
  • 20: Portraits (and paintings) that follow you
  • 21: Escher and the ophthalmologist
  • 22: Bridget Riley and the rationale for Op Art
  • Part 6: Aging Eye
  • 23: Aging eye: vision and disease
  • 24: Dilemma of late style: Titian and Cezanne
  • 25: Aging Rembrandt: maturity vs disease
  • Part 7: External Eye Disease
  • 26: Pissarro: the Lachrymose Impressionist
  • 27: Are the eyes straight?: portraits and Rembrandt
  • Part 8: Cataract And Glaucoma
  • 28: Cataracts and the artist: Carriera, Martin, and others
  • 29: Cataracts, diabetes, and radium: the case of Cassatt
  • 30: Cataracts, surgery, and color: the case of Monet
  • 31: Glaucoma and the artist
  • 32: James Thurber and the sequelae of childhood injury
  • Part 9: Retinal Disease
  • 33: Retinal disease and art
  • 34: Goya's strange malady
  • 35: Blindness of Degas
  • 36: Munch and visions from within the eye
  • 37: Blurred world of Georgia O'Keeffe
  • Part 10: Artist's View
  • 38: Simulating the vision of Degas and Monet
  • Bibliography
  • Image credits
  • Index
Isbn
9780810948495
Instance
Label
The artist's eyes : vision and the history of art
Title
The artist's eyes
Title remainder
vision and the history of art
Statement of responsibility
Michael F. Marmor and James G. Ravin
Creator
Contributor
Author
Subject
Language
eng
Summary
From the Publisher: In this fascinating juxtaposition of science and art history, ophthalmologists Michael Marmor and James Ravin examine the role of vision and eye disease in art. They focus on the eye, where the process of vision originates, and investigate how aspects of vision have inspired and confounded many of the world's most famous artists. Why do Georges Seurat's paintings appear to shimmer? How come the eyes in certain portraits seem to follow you around the room? Are the broad brushstrokes in Monet's Water Lilies due to cataracts? Could van Gogh's magnificent yellows be a result of drugs? How does eye disease affect the artistic process? Or does it at all? The Artist's Eyes considers these questions and more. Using key works of art as well as innovative illustrations that simulate different artists' vision, Marmor and Ravin shed new light on the story of art
Cataloging source
UKM
http://library.link/vocab/creatorDate
1941-
http://library.link/vocab/creatorName
Marmor, Michael F.
Illustrations
illustrations
Index
index present
LC call number
N71.8
LC item number
.M37 2009
Literary form
non fiction
Nature of contents
bibliography
NLM call number
  • 2009 M-073
  • WZ 313
NLM item number
M352a 2009
http://library.link/vocab/relatedWorkOrContributorName
Ravin, James G.
http://library.link/vocab/subjectName
  • Art and vision disorders
  • Visual perception
  • Artists
  • Famous Persons
  • Visual Perception
  • Art
  • Medicine in the Arts
  • Vision Disorders
  • Visuelle Wahrnehmung
  • Künstler
  • Art and vision disorders
  • Artists
  • Visual perception
  • Art and vision disorders
  • Artists / Health and hygiene
  • Kunst
  • Kunst
  • Künstler
  • Visual perception
  • Augenkrankheit
  • Kunst
  • Künstler
  • Optik
  • Sehen
  • Visuelle Wahrnehmung
Label
The artist's eyes : vision and the history of art, Michael F. Marmor and James G. Ravin
Instantiates
Publication
Bibliography note
Includes bibliographical references (p. [211]-215) and index
Contents
Acknowledgments -- About the authors -- Introduction -- Part 1: Eye As An Optical Instrument -- 1: Why glasses are needed -- 2: Myth of impressionism and myopia -- 3: El Greco -- 4: Euphronios: a presbyopic potter in ancient Athens -- Part 2: Coding And Contrast -- 5: Thinking eye: coding vision -- 6: Mach bands: the artist's "edge" -- 7: Light and dark/day and night -- Part 3: Addition Of Color -- 8: Recognizing color -- 9: Circle of color: Turner, Newton, and Goethe -- 10: Yellow vision of van Gogh -- 11: Seurat, color science, and Neo-Impressionism -- 12: Matisse and the implications of color -- 13: Chuck Close and the pixelated image -- Part 4: Limitations Of Color -- 14: Color deficiency: a different vision -- 15: Artist with a defect in color vision: Charles Meryon -- 16: Secret of Paul Henry -- Part 5: Perspective And Illusion -- 17: Perspective on perspective -- 18: Art with different perspectives -- 19: Illusion and art -- 20: Portraits (and paintings) that follow you -- 21: Escher and the ophthalmologist -- 22: Bridget Riley and the rationale for Op Art -- Part 6: Aging Eye -- 23: Aging eye: vision and disease -- 24: Dilemma of late style: Titian and Cezanne -- 25: Aging Rembrandt: maturity vs disease -- Part 7: External Eye Disease -- 26: Pissarro: the Lachrymose Impressionist -- 27: Are the eyes straight?: portraits and Rembrandt -- Part 8: Cataract And Glaucoma -- 28: Cataracts and the artist: Carriera, Martin, and others -- 29: Cataracts, diabetes, and radium: the case of Cassatt -- 30: Cataracts, surgery, and color: the case of Monet -- 31: Glaucoma and the artist -- 32: James Thurber and the sequelae of childhood injury -- Part 9: Retinal Disease -- 33: Retinal disease and art -- 34: Goya's strange malady -- 35: Blindness of Degas -- 36: Munch and visions from within the eye -- 37: Blurred world of Georgia O'Keeffe -- Part 10: Artist's View -- 38: Simulating the vision of Degas and Monet -- Bibliography -- Image credits -- Index
Extent
223 p.
Isbn
9780810948495
Isbn Type
(hbk.)
Lccn
2009517657
Other physical details
ill. (mostly col.) ;29 cm.
System control number
  • (OCoLC)317927186
  • (OCoLC)ocn317927186
Label
The artist's eyes : vision and the history of art, Michael F. Marmor and James G. Ravin
Publication
Bibliography note
Includes bibliographical references (p. [211]-215) and index
Contents
Acknowledgments -- About the authors -- Introduction -- Part 1: Eye As An Optical Instrument -- 1: Why glasses are needed -- 2: Myth of impressionism and myopia -- 3: El Greco -- 4: Euphronios: a presbyopic potter in ancient Athens -- Part 2: Coding And Contrast -- 5: Thinking eye: coding vision -- 6: Mach bands: the artist's "edge" -- 7: Light and dark/day and night -- Part 3: Addition Of Color -- 8: Recognizing color -- 9: Circle of color: Turner, Newton, and Goethe -- 10: Yellow vision of van Gogh -- 11: Seurat, color science, and Neo-Impressionism -- 12: Matisse and the implications of color -- 13: Chuck Close and the pixelated image -- Part 4: Limitations Of Color -- 14: Color deficiency: a different vision -- 15: Artist with a defect in color vision: Charles Meryon -- 16: Secret of Paul Henry -- Part 5: Perspective And Illusion -- 17: Perspective on perspective -- 18: Art with different perspectives -- 19: Illusion and art -- 20: Portraits (and paintings) that follow you -- 21: Escher and the ophthalmologist -- 22: Bridget Riley and the rationale for Op Art -- Part 6: Aging Eye -- 23: Aging eye: vision and disease -- 24: Dilemma of late style: Titian and Cezanne -- 25: Aging Rembrandt: maturity vs disease -- Part 7: External Eye Disease -- 26: Pissarro: the Lachrymose Impressionist -- 27: Are the eyes straight?: portraits and Rembrandt -- Part 8: Cataract And Glaucoma -- 28: Cataracts and the artist: Carriera, Martin, and others -- 29: Cataracts, diabetes, and radium: the case of Cassatt -- 30: Cataracts, surgery, and color: the case of Monet -- 31: Glaucoma and the artist -- 32: James Thurber and the sequelae of childhood injury -- Part 9: Retinal Disease -- 33: Retinal disease and art -- 34: Goya's strange malady -- 35: Blindness of Degas -- 36: Munch and visions from within the eye -- 37: Blurred world of Georgia O'Keeffe -- Part 10: Artist's View -- 38: Simulating the vision of Degas and Monet -- Bibliography -- Image credits -- Index
Extent
223 p.
Isbn
9780810948495
Isbn Type
(hbk.)
Lccn
2009517657
Other physical details
ill. (mostly col.) ;29 cm.
System control number
  • (OCoLC)317927186
  • (OCoLC)ocn317927186

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