How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? This title features the essays that address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond.
Providing a fresh evaluation of Alberti's text On Painting (1435), along with comparisons to various works of Nicholas Cusanus this study reveals a hitherto unsuspected shared epistemology of vision. Analyzing a range of artworks in light of Alberti's and Cusanus's ideals of vision.
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