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Etat : NEW. Roma: Edizioni Quasar, 2022 9788854912564 Papers of the Royal Netherlands Institute in Rome 67 809 192 p. : ill. col. b/n, indice ; 28 cm. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on "social practices" entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence.…

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Buch. Etat : Neu. Neuware - One of the most important developments in the history of science from the late 15th until the late 18th century was the foundation of institutions for collaborative research and the publication of knowledge, such as the Accademia dei Lincei in Rome (1603), the Academia Naturae Curiosorum (Leopoldina) in Schweinfurt (1652), the Accademia del Cimento in Florence (1657), the Royal Society in London (1660), the Academie Royale des Sciences in Paris (1666), and the Scientific Academy of St Petersburg (1725). Within these institutions, knowledge was not only acquired and disseminated orally and textually, but also visually. From drawings, which circulated in society meetings to the printed plates in their published books, images across all media were vital to the developing practices of early modern science. This volume provides the first comprehensive and comparative understanding of the function of images and visual strategies within these burgeoning institutions. The contributions deal with the visualization a manifold of early modern scientific disciplines (from natural history to medicine, from mathematics to acoustics, and from ethnography to geology and geometry) in institutions in Italy, France, Germany, Great Britain, Portugal, Russia, and the Netherlands, from the late 15th until the late 18th century. By combining a multidisciplinary perspective with a wide geographical point of view and a long temporal framework, the volume provides new insight into the critical role of visual practices within pre-modern scientific societies.…

Hardback, xx + 386 pages, Size:220 x 280 mm, Illustrations:4 b/w, 118 col., Language: English. ISBN 9781915487209. Summary One of the most important developments in the history of science from the early seventeenth until the late eighteenth century was the foundation of institutions for collaborative research and the publication of knowledge, such as the Accademia dei Lincei in Rome (1603), the Royal Society in London (1660), the Acad mie Royale des Sciences in Paris (1666), and the Scientific Academy of St Petersburg (1725). Within these institutions, knowledge was not only acquired and disseminated orally and textually, but also visually. From drawings, which circulated in society meetings to the printed plates in their published books, images across all media were vital to the developing practices of early modern science. Images and Institutions provides the first broad-range consideration of the use of images and visual practices within these knowledge-producing institutions from a comparative perspective. Spanning two hundred years, fifteen institutions, and large parts of Europe and America, the articles in this volume reveal the widespread importance of images and visual practices in the early days of collaborative science. Collectively these essays show that early modern scientific institutions in different regions used very similar visual strategies, relying on images in the conduct and communication of their work. Moreover, these essays reveal that various institutional members, officials, and practitioners were debating, advocating, and arguing for how images should be made, regulated, and deployed. By combining approaches from history, art history and visual studies with a wide geographical point of view and long temporal framework, the volume provides new insight into the critical role of visual practices within pre-modern scientific societies. TABLE OF CONTENTS Introduction (Matthijs Jonker and Katherine Reinhart) Part I. Images and Authority Ut pictura manifestat: The Accademia dei Lincei and the Reliability of Images (Irene Baldriga) Understanding the Exotic: The Accademia dei Lincei's Images for the Tesoro messicano (Matthijs Jonker) Science and Statecraft: On the Epistemic and Political Functions of Images in the Acad mie Royale des Sciences (Katherine Reinhart) Visual Culture in the Experimental Reports of the Accademia del Cimento, ca 1657-62 (Stefano Gulizia) Individual Images and Collective Empiricism: Observations in the Miscellanea curiosa of the Leopoldina (Simon Rebohm) Author or Editor? Image-making in the Society of Physicians in London (1754-1784) (Alicia Hughes) Part II. Artists and Naturalists Tasteful Science and Networks of Knowledge at the Jardin du Roi: Madeleine Fran oise Basseporte's Shell Paintings on Vellum (1747-68) (Carole Nataf) On the Use of Drawing in Eighteenth-Century Botanical Expeditions for the Development of Hispanic America (Juan Ricardo Rey M rquez) The Supervision of Draughtsmen and Printmakers in the Early Acad mie Royale des Sciences (Antoine Gallay) The Arts in the Academy of Sciences of St Petersburg (Bert van de Roemer) Institutional Interdependencies: The Visual Culture of the Collegium illustre Carolinum (Sophie-Luise M vers-Persch) Epistemic Emblems: Ottavio Scarlattini and the Network of the Accademia dei Gelati in Bologna (Immacolata Iaccarino) Part III. Images and Debates Two Previously Unidentified States of Mattheus Greuter's Melissographia (1625) and the Interdynamics of the Early Accademia dei Lincei (Ruth Sargent Noyes) With Compass and Ruler: Drawing Echoes for the L'Acad mie Royale des Sciences, Belles-Lettres et Arts in Bordeaux (Leendert Van der Miesen) Images, Mechanics & Institutions: The Debate on Ancient Triremes within Late Seventeenth-Century Academies in Rome (Federica Favino) Microscopy and the Signatures of Plants in Early Royal Society of London (Xinyi Wen) Epilogue: Early Modern Scientific Institutions and Their Images (Sachiko Kusukawa) Bibliography Index 0 g.…

Brossura. Etat : nuovo. Quasar, 2022. NUOVO. Brossura. 192pp, illus. The Florentine Accademia del Disegno (founded in 1563) and the Roman Accademia di San Luca (founded c. 1593) were the first official art academies in Europe. In their early years these institutions performed a variety of functions, which included the organization of funerals and religious feasts, establishing and enforcing rules about the organization of workshops, teaching young painters, sculptors and architects the principles of their arts, and maintaining relationships with potential patrons. By seeing them as crossing points of religious, guild, educational and patronage practices this book presents a multifaceted and comprehensive understanding of these academies. As such it goes beyond previous interpretations, where they were reduced to one of their activities (e.g. patronage). The book also offers the first sustained comparison of the Accademia del Disegno and the Accademia di San Luca. The focus on social practices entails the application of insights of theories of practice to a cultural-historical research object. The development of theories of practice, especially those of Pierre Bourdieu and Theodore Schatzki, is the second objective of this study, in addition to improving the understanding of the Accademia del Disegno and the Accademia di San Luca in the early years of their existence. Contents: Illustrations Acknowledgements INTRODUCTION From social elevation to cultural politics The wider academic movement in Europe A practice approach to the academization of art CHAPTER 1 BOURDIEU AND SCHATZKI ON SOCIAL REALITY, PRACTICES, AND MODERNITY Social reality and social practices The organization of social practices Social critique, power, and modernization Bourdieu, Schatzki, and the academization of art Interpretative framework CHAPTER 2 E TUTTO FU FATTO CON GRANDISSIMO APPARECCHIO DI CERA E LUMI : THE RELIGIOUS-CONFRATERNAL PRACTICES OF THE ART ACADEMIES Religious-confraternal practices and the Counter Reformation The Compagnie di San Luca in Florence and Rome and the foundation of the art academies The confraternal practices of the Accademia del Disegno in Florence The Accademia di San Luca in Rome and the Counter Reformation Church The confraternal practices of the Accademia di San Luca Conclusion CHAPTER 3 COME TUTTI GLI ALTRI MAGISTRATI : THE GUILD PRACTICES OF THE ART ACADEMIES Art academies and the myth of the guilds Craft guilds and the visual arts before the foundation of the art academies Foundation, rules, and practices of the Florentine Academy as guild Guild rules and practices in the Accademia di San Luca in Rome Conclusion CHAPTER 4 THE THEORY AND PRACTICE OF DISEGNO IN ARTISTIC TREATISES Borghini and Varchi: reasoning or doing Vasari s apparente espressione Danti s ritrarre and imitare Allori s regole Cellini s principii Zuccari s disegno interno and disegno esterno Conclusion CHAPTER 5 PAROLE E FATTI : THE EDUCATIONAL PRACTICES OF THE ART ACADEMIES Theoretical and practical instruction in the academic curriculum Educational practices in the Florentine Academy Lectures in the Accademia di San Luca Practical instruction in the Accademia di San Luca Conclusion Chapter 6 PATRONS, CLIENTS AND CULTURAL BROKERS: THE PATRONAGE PRACTICES OF THE ART ACADEMIES Patrons, clients and cultural brokers The Florentine Accademia del Disegno as client The Roman Accademia di San Luca as client The Accademia di San Luca as cultural broker Conclusion Conclusion Bibliography Index. …

Hardcover. Etat : new. Hardcover. One of the most important developments in the history of science from the late 15th until the late 18th century was the foundation of institutions for collaborative research and the publication of knowledge, such as the Accademia dei Lincei in Rome (1603), the Academia Naturae Curiosorum (Leopoldina) in Schweinfurt (1652), the Accademia del Cimento in Florence (1657), the Royal Society in London (1660), the Academie Royale des Sciences in Paris (1666), and the Scientific Academy of St Petersburg (1725). Within these institutions, knowledge was not only acquired and disseminated orally and textually, but also visually. From drawings, which circulated in society meetings to the printed plates in their published books, images across all media were vital to the developing practices of early modern science. This volume provides the first comprehensive and comparative understanding of the function of images and visual strategies within these burgeoning institutions. The contributions deal with the visualization a manifold of early modern scientific disciplines (from natural history to medicine, from mathematics to acoustics, and from ethnography to geology and geometry) in institutions in Italy, France, Germany, Great Britain, Portugal, Russia, and the Netherlands, from the late 15th until the late 18th century. By combining a multidisciplinary perspective with a wide geographical point of view and a long temporal framework, the volume provides new insight into the critical role of visual practices within pre-modern scientific societies. This edited volume provides the first comprehensive and comparative understanding of the function of images and visual strategies within scientific institutions from the late 15th until the late 18th century. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…