Exploring the invisible : art, science, and the spiritual / Lynn Gamwell.
Material type: TextPublication details: Princeton, N.J. ; Woodstock : Princeton University Press, 2004.Description: 344 p. : ill. (some col.) ; 29 cmISBN:- 0691121125 (pbk.)
- 9780691121123 (pbk.)
- 701.105 GAM
Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
---|---|---|---|---|---|---|---|
Standard Loan | LSAD Library Main Collection | 701.105 GAM (Browse shelf(Opens below)) | 1 | Available | 39002100316117 |
Enhanced descriptions from Syndetics:
This sumptuous and stunningly illustrated book shows through words and images how directly, profoundly, and indisputably modern science has transformed modern art.
Beginning in the mid-nineteenth century, a strange and exciting new world came into focus--a world of microorganisms in myriad shapes and colors, prehistoric fossils, bizarre undersea creatures, spectrums of light and sound, molecules of water, and atomic particles. Exploring the Invisible reveals that the world beyond the naked eye--made visible by advances in science--has been a major inspiration for artists ever since, influencing the subjects they choose as well as their techniques and modes of representation.
Lynn Gamwell traces the evolution of abstract art through several waves, beginning with Romanticism. She shows how new windows into telescopic and microscopic realms--combined with the growing explanatory importance of mathematics and new definitions of beauty derived from science--broadly and profoundly influenced Western art. Art increasingly reflected our more complex understanding of reality through increasing abstraction. For example, a German physiologist's famous demonstration that color is not in the world but in the mind influenced Monet's revolutionary painting with light. As the first wave of enthusiasm for science crested, abstract art emerged in Brussels and Munich. By 1914, it could be found from Moscow to Paris.
Throughout the book are beautiful images from both science and art--some well known, others rare--that reveal the scientific sources mined by Impressionist and Symbolist painters, Art Nouveau sculptors and architects, Cubists, and other nineteenth- and twentieth-century artists.
With a foreword by astronomer Neil deGrasse Tyson, Exploring the Invisible appears in an age when both artists and scientists are exploring the deepest meanings of life, consciousness, and the universe.
Originally published: 2002.
Includes bibliographical references (p. 330-332) and index.
Foreword: Science as the artist\'s muse / Neil deGrasse Tyson -- Introduction -- Art in pursuit of the absolute : romanticism -- Adopting a scientific worldview -- The French art of observation : a cool rejection of Darwin -- German and Russian art of the absolute : a warm embrace of Darwin -- Loving and loathing science at the fin de siècle -- Looking inward : art and the human mind -- Wordless music and abstract art -- The culmination of Newton\'s clockwork universe -- Einstein\'s space-time universe -- Abstract art with a cosmic perspective -- Surrealist science -- The atomic sublime -- The disunity of nature : postmodern art, science, and the spiritual.
Table of contents provided by Syndetics
- Foreword: Science in the Artist's Muse by Neil DeGrasse Tyson (p. 6)
- Introduction (p. 9)
- 1 Art in the Pursuit of the American Romanticism (p. 13)
- 2 Adopting: A Scientific World view (p. 33)
- 3 The French Art Of Observation: A Cool Rejection Of Darwin (p. 57)
- 4 German and Russian Art of Absolute: A Warm Embrace of Darwin (p. 93)
- 5 Loving and Loothing Science at the Fin De Siegrave;Cle (p. 111)
- 6 Looking Inward: Art and the Human Mind (p. 129)
- 7 Worldless Music And Abstract Art (p. 149)
- 8 The Culmination Of Newton's Clockwork Universe (p. 163)
- 9 Einstein's Space-Time Universe (p. 195)
- 10 Abstract Art With A Cosmic Perspective (p. 207)
- 11 Surrealist Science (p. 243)
- 12 The Atomic Subline (p. 259)
- 13 The Disunity Of Nature: Postmodern Art, Science, and the Spiritual (p. 281)
- Notes (p. 308)
- Chronology (p. 324)
- Acknowledgments (p. 328)
- Suggestions for Further Reading (p. 330)
- Index (p. 333)
- Picture Credits 343