The Polyhedrists: Art and Geometry in the Long Sixteenth Century
The Polyhedrists: Art and Geometry in the Long Sixteenth Century
Regular price
$44.95
Regular price
Sale price
$44.95
Unit price
per
Couldn't load pickup availability
The Polyhedrists: Art and Geometry in the Long Sixteenth Century
W037737 | $44.95 / 20% library disc.
Noam Andrews. The MIT Press, Cambridge, 2022.
300 pp. Well illustrated (some col.). 24 x 16 cm. In English. Paperbound.
ISBN 9780262046640
In The Polyhedrists, Noam Andrews unfolds a history of the relationship between art and geometry in early modern Europe, told largely through a collective of ground-breaking artisan-artists (among them, Luca Pacioli, Albrecht Dürer, Wenzel Jamnitzer, and Lorentz Stöer) and by detailed analysis of a rich visual panoply of their work, featuring paintings, prints, decorative arts, cabinetry, and lavishly illustrated treatises. But this is also an art history of the polyhedra themselves, emblems of an evolving artistic intelligence, which include a varied set of geometrical figures—both Platonic, or regular, like the simple tetrahedron, and Archimedean, or irregular, like the complex yet beguiling rhombicosidodecahedron. Moreover, The Polyhedrists argues that the geometrical depictions of Dürer, Jamnitzer et al were far more than mere follies from the dawn of perspective, at odds with a contemporary view of the Renaissance, and destined to be superseded by later developments in higher level mathematics. In fact, the evolution of the solids into innumerable “irregular bodies” constituted a sustained moment in the formulation of Renaissance mathematical knowledge and its engagement with materiality. This intense field of experimentation would birth a new language of geometrical abstraction that would ignite a century of novel form-making strategies, ultimately paving the way for developments in geometry and topology in the nineteenth and early twentieth centuries, and even prefiguring the more recent digital turn. The book, in this sense, is not just an applied history of geometry, nor a particular geometric reading of early modern art through some of its more celebrated practitioners, but a manifesto of sorts into the hitherto unexplored wilds of art and science. The Polyhedrists argues that the geometrical oeuvre of Dürer, Jamnitzer et al consisted of more than perspectival follies destined to be superseded by later developments in higher-level mathematics. In fact, the evolution of the Platonic solids into innumerable “irregular bodies” constituted a sustained moment in the formulation of Renaissance mathematical knowledge and its engagement with materiality. This intense field of experimentation birthed a language of geometrical abstraction that would ignite a century of novel form-making strategies, ultimately paving the way for developments in geometry and topology in the nineteenth and early twentieth centuries and prefiguring the more recent digital turn. Hence the book is both an expansive history of geometry made visible and a manifest of a very particular, polyhedral fascination. Taken together, they plot a new trail into the wilds of art and science.
Subject Headings: Eastern and Western European Art ; Western Art -- 1400-1600 -- Drawings and Watercolors ; Several Fine Arts Media (Western) --
W037737 | $44.95 / 20% library disc.
Noam Andrews. The MIT Press, Cambridge, 2022.
300 pp. Well illustrated (some col.). 24 x 16 cm. In English. Paperbound.
ISBN 9780262046640
In The Polyhedrists, Noam Andrews unfolds a history of the relationship between art and geometry in early modern Europe, told largely through a collective of ground-breaking artisan-artists (among them, Luca Pacioli, Albrecht Dürer, Wenzel Jamnitzer, and Lorentz Stöer) and by detailed analysis of a rich visual panoply of their work, featuring paintings, prints, decorative arts, cabinetry, and lavishly illustrated treatises. But this is also an art history of the polyhedra themselves, emblems of an evolving artistic intelligence, which include a varied set of geometrical figures—both Platonic, or regular, like the simple tetrahedron, and Archimedean, or irregular, like the complex yet beguiling rhombicosidodecahedron. Moreover, The Polyhedrists argues that the geometrical depictions of Dürer, Jamnitzer et al were far more than mere follies from the dawn of perspective, at odds with a contemporary view of the Renaissance, and destined to be superseded by later developments in higher level mathematics. In fact, the evolution of the solids into innumerable “irregular bodies” constituted a sustained moment in the formulation of Renaissance mathematical knowledge and its engagement with materiality. This intense field of experimentation would birth a new language of geometrical abstraction that would ignite a century of novel form-making strategies, ultimately paving the way for developments in geometry and topology in the nineteenth and early twentieth centuries, and even prefiguring the more recent digital turn. The book, in this sense, is not just an applied history of geometry, nor a particular geometric reading of early modern art through some of its more celebrated practitioners, but a manifesto of sorts into the hitherto unexplored wilds of art and science. The Polyhedrists argues that the geometrical oeuvre of Dürer, Jamnitzer et al consisted of more than perspectival follies destined to be superseded by later developments in higher-level mathematics. In fact, the evolution of the Platonic solids into innumerable “irregular bodies” constituted a sustained moment in the formulation of Renaissance mathematical knowledge and its engagement with materiality. This intense field of experimentation birthed a language of geometrical abstraction that would ignite a century of novel form-making strategies, ultimately paving the way for developments in geometry and topology in the nineteenth and early twentieth centuries and prefiguring the more recent digital turn. Hence the book is both an expansive history of geometry made visible and a manifest of a very particular, polyhedral fascination. Taken together, they plot a new trail into the wilds of art and science.
Subject Headings: Eastern and Western European Art ; Western Art -- 1400-1600 -- Drawings and Watercolors ; Several Fine Arts Media (Western) --
