Lester, Toby: The Other Vitruvian Man. Was Leonardo da Vinci's famous anatomical chart actually a collaborative effort? 
Smithsonian Magazine, February 2012
https://www.smithsonianmag.com/arts-culture/the-other-vitruvian-man-18833104/#GBx8jSvw12fSPPpC.99

HANS BELTING

Hans Belting (* 7. Juli 1935 in Andernach) ist ein deutscher Kunsthistoriker und Medientheoretiker mit Schwerpunkt im Bereich der Bildwissenschaft, in der Moderne und Medienkunst sowie in der italienischen Kunst des Mittelalters und der Renaissance.

Leben

Belting studierte in Mainz und Rom Kunstgeschichte und wurde an der Universität Mainz promoviert. Anschließend war er Fellow der Harvard University am Dumbarton Oaks Institute, Washington.

Er habilitierte sich an der Universität Hamburg mit der Schrift Studien zur beneventanischen Malerei und lehrte ab 1969 als ordentlicher Professor an der Universität Heidelberg, von 1980 bis 1992 als Ordinarius an der Ludwig-Maximilians-Universität München. Von 1992 bis zu seiner Emeritierung 2002 war er Professor am Institut für Kunstwissenschaft und Medientheorie an der Staatlichen Hochschule für Gestaltung in Karlsruhe. Von Oktober 2004 bis Ende September 2007 war er Direktor des Internationalen Forschungszentrums Kulturwissenschaften (IFK) in Wien.

Belting ist Mitglied verschiedener wissenschaftlicher Akademien in Deutschland (Heidelberger Akademie der Wissenschaften), in Europa (Academia Europaea[1]) und in den USA (American Academy of Arts and Sciences), Mitglied der American Philosophical Society(2005), Fellow des Wissenschaftskollegs in Berlin (1995), Ehrenmitglied des Leibniz-Zentrums für Literatur- und Kulturforschung Berlin (seit 2006) und Mitglied des Ordens Pour le mérite für Wissenschaften und Künste (1998) sowie Mitglied des Kuratoriums des Museums für Moderne Kunst Stiftung Ludwig Wien (MUMOK). Seit 2013 ist er ordentliches Mitglied der Nordrhein-Westfälischen Akademie der Wissenschaften und der Künste. Für 2015 wurde ihm der Balzan-Preis zugesprochen. 2016 schenkte Belting seine mehrere tausend Bände umfassende Privatbibliothek der Philosophischen Fakultät der Masaryk-Universität in Brünn. An der Universität wurde daraufhin eine nach Belting benannte Bibliothek eröffnet.

Werk

Methodisch richtungsweisend war sein Buch Das Bild und sein Publikum im Mittelalter. Form und Funktion früher Bildtafeln der Passion (1981), in dem Belting die Rezeption von Passionsikonen im Westen untersucht und damit Kulturtransfer innovativ erforscht. Internationale Aufmerksamkeit erfuhr das 1990 veröffentlichte Buch Bild und Kult, das sich der mittelalterlichen Bilderverehrung aus einer sozialgeschichtlichen Perspektive widmet. Auch in Das echte Bild (2005) stehen Heiligenbilder im Mittelpunkt.

Für die Entwicklung der Bildwissenschaft bedeutsam war die Bild-Anthropologie (2001), in der Belting die kulturgeschichtlichen Ursprünge des Bildermachens untersucht und dabei unter anderem dem Verhältnis von Bild und Tod besondere Aufmerksamkeit widmet, aber auch die aktuelle Entwicklung der Mediengesellschaft und die gegenwärtige „Krise der Repräsentation“ reflektiert.

Den Ursprung zentralperspektivischen Sehens verortet Belting in Bagdad und macht "Übertragungsfehler" dafür verantwortlich, dass das Florenz der Renaissance als Ursprungsort der Zentralperspektive gilt.

Publikationen

Monographien (Auswahl)
An Anthropology of Images. Picture, Medium, Body. Translated by Thomas Dunlap. Princeton University Press, Princeton 2014
Faces: Eine Geschichte des Gesichts. Beck, München 2013, ISBN 978-3-406-64430-6.
Florenz und Bagdad: eine westöstliche Geschichte des Blicks Beck, München 2008,
Szenarien der Moderne. Kunst und ihre offenen Grenzen (= Fundus-Bücher. Bd. 164). Philo, Hamburg 2005
Das echte Bild. Bildfragen als Glaubensfragen. München 2005
Bild-Anthropologie. Entwürfe für eine Bildwissenschaft. Fink, München 2001
[mit Christiane Kruse]; Die Erfindung des Gemäldes. Das erste Jahrhundert der niederländischen Malerei. München, Hirmer, 1994.
Bild und Kult. Eine Geschichte des Bildes vor dem Zeitalter der Kunst. Beck, München 1990
Das Ende der Kunstgeschichte? Deutscher Kunstverlag, München 1983
Das Bild und sein Publikum im Mittelalter. Form und Funktion früher Bildtafeln der Passion. Mann, Berlin 1981
Studien zur beneventanischen Malerei (= Forschungen zur Kunstgeschichte und Christlichen Archäologie. Bd. 7). Steiner, Wiesbaden 1968
Die Basilica dei Ss. Martiri in Cimitile und ihr frühmittelalterlicher Freskenzyklus. Steiner, Wiesbaden 1962.

Als Herausgeber
Bilderfragen. Bildwissenschaften im Aufbruch. Fink, München 2007
mit Martin Schulz und Dietmar Kamper: Quel corps? Eine Frage der Repräsentation. Fink, München 2002
Der zweite Blick. Bildgeschichte und Bildreflexion. Fink, München 2000
mit Lydia Haustein: Das Erbe der Bilder. Kunst und moderne Medien in den Kulturen der Welt. Beck, München 1998.
Kunstgeschichte. Eine Einführung. Reimer, Berlin 1986, ISBN 3-496-00825-3 (7., überarbeitete und erweiterte Auflage 2008).

Aufsätze (Auswahl)
Zur Ikonologie des Blicks. In: Christoph Wulf, Jörg Zirfas (Hrsg.): Ikonologie des Performativen. Fink, München 2005, S. 50–58.
Nieder mit den Bildern. Alle Macht den Zeichen. Aus der Vorgeschichte der Semiotik. In: Stefan Majetschak (Hrsg.): Bild-Zeichen. Perspektiven einer Wissenschaft vom Bild. München 2005, S. 31–48.
Die Gewalt der Bilder und das Reale. In: Helga Finter (Hrsg.): Das Reale und die (neuen) Bilder. Denken oder Terror der Bilder. Lang, Frankfurt am Main u. a., S. 69–77.
Gary Hill und das Alphabet der Bilder. In: Marco Gutjahr, Maria Jarmer (Hrsg.): Von Ähnlichkeit zu Ähnlichkeit. Maurice Blanchot und die Leidenschaft des Bildes, Turia+Kant, Wien, Berlin 2016, S. 329–353.

Literatur
Giulio Angioni: Fare, dire, sentire. L’identico e il diverso nelle culture. Il maestrale, Nuoro 2011
Samuel Strehle: Hans Belting. „Bild-Anthropologie“ als Kulturtheorie der Bilder. In: Stephan Moebius, Dirk Quadflieg (Hrsg.): Kultur. Theorien der Gegenwart. 2., erweiterte und aktualisierte Auflage. VS, Wiesbaden 2011, ISBN 978-3-531-16775-6, S. 507–518.
Luca Vargiu: Prima dell’età dell’arte. Hans Belting e l’immagine medievale. Centro internazionale per gli Studi di Estetica, Palermo 2007.

Weblinks
Literatur von und über Hans Belting im Katalog der Deutschen Nationalbibliothek
Hans Belting. In: Kunstwissenschaft.HFG-Karlsruhe.de.
Belting, Hans. In: Dictionary of Art Historians.
Die Wahrheit hinter dem Bild. Hans Belting: „Das echte Bild – Bildfragen als Glaubensfragen.“ In: Deutschlandfunk, 13. März 2006.

PAOLO GALLUZZI

AUGUSTO MARINONI

MARTIN KEMP

Living with Leonardo: An Interview with Martin Kemp

Martin Kemp (born 5 March 1942) is emeritus professor of the history of art at University of Oxford. He is considered one of the world's leading experts on the art of Leonardo da Vinci and visualisation in art and science.

Career

Kemp was trained in natural sciences and art history at Downing College, Cambridge and the Courtauld Institute of Art, University of London. He was British Academy Wolfson Research Professor (1993–98). For more than 25 years he was based in Scotland (University of Glasgow and University of St Andrews). From 1995 to 2008 he was Professor of Art History at the University of Oxford.[1] He has held visiting posts in Princeton, New York, North Carolina, Los Angeles and Montreal.

Kemp has written books about Leonardo da Vinci, including Leonardo (Oxford University Press, 2004, rev. 2011). He has published on imagery in the sciences of anatomy, natural history and optics, including The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat (Yale University Press).

Kemp has focused on issues of visualisation, modelling and representation. He has written a regular column called Science in Culture in Nature (an early selection published as Visualisations, OUP, 2000). The Nature essays are developed in Seen and Unseen (OUP, 2006), in which his concept of "structural intuitions" is explored. His most recent book is Christ to Coke: How Image becomes Icon (OUP, 2011). Several of his books have been translated into various languages.

He has curated a series of exhibitions on Leonardo and other themes, including Spectacular Bodies at the Hayward Gallery in London, Leonardo da Vinci: Experience, Experiment, Design at the Victoria and Albert Museum in 2006 and Seduced: Sex and Art from Antiquity to Now, Barbican Art Gallery, London, 2007. He was also guest curator for Circa 1492 at the National Gallery of Art in Washington in 1992.

In 2000, he advised skydiver Adrian Nicholas as he constructed a parachute according to Leonardo's drawings from materials which would have been available in his day. In 1485 Leonardo had scribbled a simple sketch of a four-sided pyramid covered in linen. Alongside, he had written: "If a man is provided with a length of gummed linen cloth with a length of 12 yards (11 m) on each side and 12 yards high, he can jump from any great height whatsoever without injury." In June 2000, Nicholas launched himself from a hot air balloon 10,000 feet (3,000 m) over South Africa. He parachuted for five minutes as a black box recorder measured his descent, before cutting himself free of the device and releasing a conventional parachute. Leonardo's parachute made such a smooth and slow descent that the two jumpers accompanying Nicholas had to brake twice to stay level with him.

Kemp's projects include:

Leonardo da Vinci. Experience, Experiment and Design
an exhibition about how Leonardo thought on paper. It contains some of his most complex and challenging designs. Although many other artists, inventors and scientists have brainstormed on paper, none of his predecessors, contemporaries or successors used paper quite like he did. The intensity, variety and unpredictability of what happens on a single sheet are unparalleled. This project was last exhibited at the Victoria and Albert Museum, London, from 14 September 2006 to 7 January 2007.

Universal Leonardo
A project aimed at deepening our understanding of Leonardo da Vinci through a series of international exhibitions, scientific research and educational resources. A web site is available for details of the ongoing exhibitions and to discover Leonardo's fascinating thought and work in the realms of art, science and technology: http://www.universalleonardo.org

In 2010 he published a monograph together with French engineer Pascal Cotte, recounting the story of how a team of experts – under his guidance – pieced together the evidence for the extraordinary discovery of a major artwork by Leonardo, now named La Bella Principessa. The book, entitled La Bella Principessa (2010), narrates the steps Kemp and Cotte took in authenticating the painting, including the use of forensic methods usually reserved for criminal investigation, matching a fingerprint found on La Bella Principessa to the great Renaissance master. The 2012 Italian edition, La bella principessa di Leonardo da Vinci.[2] produces evidence about its origins.

As emeritus professor at Oxford University, since 2010 he is full-time writing, speaking and broadcasting.

Bibliography

Art, science and history of science

'A Drawing for the Fabrica and Some Thoughts on the Vesalius Muscle-Men', Medical History, XIV, 1970, pp. 277–88.

Dr. William Hunter at the Royal Academy of Arts, Glasgow University Press, 1975.

'Dr. William Hunter on the Windsor Leonardos and his Volume of Drawings Attributed to Pietro da Cortona', The Burlington Magazine, CXVII, 1976, pp. 228–31.

'Science, Non-Science and Nonsense: the Interpretation of Brunelleschi's Perspective', Art History, I, 1978, pp. 134–61.

'Glasgow University, Bicentenary Celebrations of Dr. William Hunter' (1718–83), The Burlington Magazine, CXXV, 1983, pp. 380–3.

'Construction and Cunning: The Perspective of the Edinburgh Saenredam', Dutch Church Painters, ed. H. Macandrew, Edinburgh, 1984, pp. 30–7.

'Red, Yellow and Blue: the Limits of Colour Science in Painting', The Natural Sciences and the Arts, ed. A. Ellenius (Acta Universitatis Uppsaliensis no. 22), Uppsala, 1984, pp. 98–105.

'Geometrical Perspective from Brunelleschi to Desargues: a Pictorial means or an Intellectual End?' (Aspects of Art Lecture, 1984), Proceedings of the British Academy, (1984), LXX, 1985, pp. 89–132.

'Simon Stevin and Pieter Saenredam: A Study of Mathematics and Vision in Dutch Science and Art', The Art Bulletin, LXVIII, 1986, pp. 237–51.

'"Perspective Rectified". Some Alternative Systems in the 19th Century', AA Files, XV, 1987, pp. 30–4.

'Perspective and Meaning: Illusion, Allusion and Collusion', Philosophy and the Visual Arts, ed. A. Harrison, Dordrecht, 1987, pp. 255–68.

The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat, Yale University Press 1990, reprinted with revisions 1992; in Italian as La Scienza dell’arte. Prospettiva e percezione visiva da Brunelleschi a Seurat, Giunti, Florence, 1994; in Spanish as La Ciencia del Arte. La óptica en la arte occidental de Brunelleschi a Seurat, Ediciones Akal, Madrid, 2000.

'Geometrical Bodies as Exemplary Forms in Renaissance Space', World Art. Themes of Unity in Diversity (Acts of the XXVI International Congress for the History of Art, Washington, 1986, ed. I. Lavin, Pennsylvania and London, I, 1989, pp. 237–41.

'Taking it on Trust: Form and Meaning in Naturalistic Representation', Archives of Natural History, XVII, 1990, pp. 127–88.

'"La diminutione di ciasun piano": la rappresentazione delle forme nello spazio di Francesco di Giorgio', Prima di Leonardo, exh. cat., ed. P. Galluzzi, Palazzo Comunale, Siena, 1991, pp. 105–12.

'Prescriptions for Painting: '"Optical Information" in Art from the Renaissance to the Late Nineteenth Century', Kungl. Vitterhets Historie och Antikvitets Akademiens Konferenser (Stockholm), XXIII, 1991, pp. 9–28.

'Intellectual Ornaments: Style, Interpretation and Function and Society in Some Instruments of Art', Interpretation and Cultural History, ed. J. Pittock and A. Wear, London, 1991, pp. 135–52.

'True to their Natures: Sir Joshua Reynolds and Dr. William Hunter at the Royal Academy of Arts', Notes and Records of the Royal Society of London, XLVI, 1992, pp. 77–88.

'"The Mark of Truth": Looking and Learning in some Anatomical Illustrations from the Renaissance and the Eighteenth Century', Medicine and the Five Senses, ed. W. Bynum and R. Porter, Cambridge, 1993, pp. 85–121.

'Picturing the Prehistoric', review symposium of M. Rudwick's, Scenes from Deep Time, in: Metascience, IV, 1993, pp. 70–3.

'"Philosophy in Sport" and the "Sacred Precincts': Sir David Brewster on the Kaleidoscope and Stereoscope', Muse and Reason. The Relation of Arts and Sciences 1650–1850, ed. B. Castel, J. Leith and A. Riley, Kingston (Ontario), 1994, pp. 203–32 (with Appendix by B. Pert)

'Piero and the Idiots: the Early Fortuna of his Theories', 'Monarca della pittura'. Piero della Francesca and his Legacy, ed. M. Lavin, National Gallery, Washington, 1995, pp. 199–211.

Materia Medica. A New Cabinet of Art and Medicine, exhibition and catalogue with K. Arnold, Wellcome Institute, London, 1995.

Bodyscapes. Images of Human Anatomy from the University of St. Andrews, exhibition and catalogue, Crawford Centre, 1995.

'Spirals of Life: D’Arcy Thompson and Theodore Cook, with Leonardo and Dürer in Retrospect', Physis, XXXII, 1995, pp. 37–54.

"Relativity not Relativism: Thoughts on the Histories of Art and science having Reread Panofsky”, Meaning in the Visual Arts. Visions from the Outside (Erwin Panofsky. A Centennial Celebration), ed. I. Lavin, 1995.

'New Light on Old Theories: Piero della Francesca and the Transmission of Light', Piero della Francesca tra arte e scienza, ed. M. Dalai Emiliani and V. Curzi, Venice, 1996, pp. 33–46.

'Temples of the Body and Temples of the Cosmos: Vision and Visualisation in the Vesalian and Copernican Revolutions', for volume on Picturing Knowledge. Historical and Philosophical Problems Concerning the Use of Art in Science, ed. B. Baigrie, Toronto, 1996, pp. 40–85.

'"Wrought by No Artist's Hand": the Natural, Artificial and Exotic in Some Artefacts from the Sixteenth Century', Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450–1650, ed. C. Farago, New Haven and London, 1996, pp. 177–96.

'"Implanted in our Natures": Humans, Plants and the Stories of Art', Visions of Empire. Voyages, Botany and Representations of Nature, ed. D. Miller, Los Angeles, 1996, pp. 197–229.

'Doing What Comes Naturally: Morphogenesis and the Limits of the Genetic Code', Art Journal, ed. B. Sichel and E. Levy, Spring 1996, pp. 27–32.

'The Ambiguous Object: the Perception of Artefacts within Changing Taxonomies', The World, the Image and Aesthetic Experience. Interdisciplinary Perspectives on Perception and Understanding, ed. C. Murath and S. Price, Bradford, 1996, pp. 193–222.

'In the Light of Dante: Meditations on Natural Light and Divine Light in Piero della Francesca, Raphael and Michelangelo', Ars naturam adiuvans. Festschift für Matthias Winner, ed. V. von Flemming and S. Schütze, 1996, pp. 160–77.

‘Art and Science, The Art Quarterly, Spring 1996, pp. 33–5.

'Seeing Subjects and Picturing Science: Visual Representation in 20th-Century Science', for 20th-Century Science, ed. J. Krige and D. Pestre, Amsterdam, 1997, pp. 361–90.

‘Medicine in View: Art and Representation’, for Western Medicine. An Illustrated History, ed. I. Loudon, Oxford, 1997, pp. 1–24.

‘Parading the Horse’,The Art Quarterly, XXX, 1997, pp. 24–31.

‘Hidden Dimensions’, ‘tate’. The Art Magazine, 13, 1997, pp. 40–4.

‘Art and Science’, 28 articles in weekly series in Nature from 23 October 1997, to 30 April 1998 (essays on topics from the Renaissance to now)

‘Science and Image’, 36 articles in weekly series in Nature from 7 May 1998 to December 1998 (essays on the visual aspects of the sciences from the Renaissance to now; see also below))

‘‘Palissy’s Philosophical Pots: ceramics, grottos and the “Matrice” of the earth’, Le origini della Modernità, ed. W. Tega, 2 vols., Florence, 1999, pp. 69–88.

Imagine e Verità. Per una storia dei rapporti fra arte e scienza, Il Saggiatore, Milan, 1999.

Introductory essay in The Physician’s Art. Representations in Art and Medicine, Duke University Medical Centre, 1999, pp. 13–9.

“Vision and Visualisation in the Illustration of Anatomy and Astronomy from Leonardo to Galileo”, 1543 and All That, ed. A. Corones and G. Freeland, Kluver, Amsterdam, 2000, pp. 17–51.

with Debora Schultz, ‘Us and Them, This and That, Here and There, Now and Then: Collecting, Classifying and Creating’, Strange and Charmed. Science and the Contemporary Visual Arts, ed. S. Ede, London, 2000, pp. 84–103.

‘The Temple of Flora. Robert Thornton, Plant Sexuality and Romantic Science’, Natura-Cultura. L’interpretazione del mondo fisico nei testi e nelle immagini, ed. G. Olmi, L. Tongorgi Tomasi and A. Zanca, Florence, 2000, pp. 15–28.

“The Handyworke of the Incomprehensible Creator”, Writing on Hands. Memory and Knowledge in Early Modern Europe, ed. C.R. Sherman and P.M. Lukehart, Dickinson College and Folger Shakespeare Library, Washington, 2000, pp. 22–7.

Visualizations: the Nature Book of Art and Science (based on articles for Nature), 2000, Oxford University Press and University of California Press (also in German)

with Marina Wallace, Spectacular Bodies. The Art and Science of the Human Body from the Renaissance to Now, book for exhibition at Hayward Gallery in London, University of California Press, 2000.

'Vedere lo spazio e misurare le immagini: Brunelleschi e la prospettiva urbana’, La Cattedrale come spazio sacro (Atti del VII centenario del Duomo di Firenze, vol. II, pt. 2), ed. T. Verdon and A, Innocenti, Florence, 2001, pp. 661–72.

“From Different Points of View: Corrgeggio, Copernicus & the Mobile Observer”, Coming About… A Festschrift for John Shearman, ed. L. Jones and L. Matthew, Cambridge (Mass.), 2001, pp. 207–13.

“The Flower of Mathematics: Perspective in Perspective”, Geometry and Space. The Celebrated Books on Geometry, Optics and Perspective of M. Arnaud de Vitry, Sotheby's, London, 10–11 April 2002

“Looking and Counting. From the Visual to the Non-Visual”, Gregor Mendel. The Genius of Genetics, ed. C. Albano and M. Wallace, Brno, 2002, pp. 56–63.

“Gregor Mendel; the genius of genetics”, Interdisciplinary Science Reviews, XXVII, 2002, pp. 120–124.

“The Mona Lisa of Modern Science”, 50 Years of DNA, ed. J. Clayton and C. Dennis, Nature / Palgrave, Basingstoke, 2003, pp. 102–6; also in The Double Helix – 50 years, Nature Supplement, 23 January 2003.

“Wissen in Bildern – Intuitionen in Kunst und Wissenschaft”, Iconic Turn. Die Macht der Bilder, ed. C. Marr and H. Burda, Cologne, 2004, pp. 382–406.

with Antonio Criminisi and Sing Bing Kang, “Reflections of Reality in Jan van Eyck and Roger Campin”, Historical Methods, III, 2004, pp. 109–21.

“From science in art to the art of science”, Nature, 434, 17 March 2005, pp. 308–9, also as Supplement: artists on science; scientists on art.

Seen and Unseen. Art, Science, and Intuition from Leonardo to the Hubble Telescope, Oxford University Press, 2006.

‘Science and Culture’, series of monthly articles in Nature from January 1999 – 2011.

The Chapel of Trinity College, Oxford. With photographs by Tim Rawle. London: Scala Arts & Heritage Publishers, 2014.

Leonardo da Vinci

'Il concetto dell'anima in Leonardo's Early Skull Studies', Journal of the Warburg and Courtauld Institutes, XXXV, 1971, pp. 155–34.

'Dissection and Divinity in Leonardo's Late Anatomies', Journal of the Warburg and Courtauld Institutes, XXXV, 1972, pp. 200–25.

'Ogni dipintore dipinge se: A Neoplatonic Echo in Leonardo's Art Theory?', in Cultural Aspects of the Italian Renaissance: Essays in Honour of Paul Oskar Kristeller, ed. C.H. Clough, Manchester, 1976, pp. 3 11–23.

'Leonardo and the Visual Pyramid', Journal of the Warburg and Courtauld Institutes, XXXIX, 1977, pp. 128–49.

'Navis Ecclesiae: an Ambrosian metaphor in Leonardo's Allegory of the 1515 Concordat', Bibliothèque d'Humanisme et Renaissance, XLIII, 1981, pp. 257–268.

'Leonardo's Leda and the Belvedere River Gods: Roman Sources and a New Chronology' (written jointly with Professor Alastair Smart of Nottingham) Art History, II, June 1980, pp. 182–193.

Leonardo da Vinci: The Marvellous Works of Nature and Man, London and Cambridge (Mass), 1981. (Mitchell Prize 1981), reprinted with minor revisions, 1989; revised edition, 2006 (below)

Leonardo da Vinci: le mirabili operazioni della natura e dell'uomo, Milan, 1982.

'The Crisis of Received Wisdom in Leonardo's late Thought/La crisi del sapere tradizionale nell'ultimo Leonardo', in Leonardo e l'Età della Ragione, ed. E. Bellone and P. Rossi, Milan, 1982, 27–52.

'Leonardo dopo Milano', The Burlington Magazine, No. CXXIV, 1982 p. 788.

'Leonardo's Maps and the "Body of the Earth"', Bulletin of the Society of University Cartographers, XVII, 1984, pp. 9–19.

'Leonardo da Vinci: Science and Poetic Impulse', Journal of the Royal Society of Arts (Selwyn Brinton Lecture), CXXXIII, 1985, pp. 196–214.

'Analogy and Observation in the Codex Hammer', Studi Vinciani in Memoria di Nando di Toni, ed. M. Pedini, Brescia, 1986, pp. 103–34.

'The Inventions of Nature and the Nature of Invention, Leonardo. Engineer and Architect, ed. P. Galluzzi, Montreal, 1987 (in French as `Les Inventions de la nature et la nature de l'invention'), Leonardo da Vinci. Ingénieur et architecte, pp. 141–44.

'Late Leonardo: Problems and Implications', Art Journal, XLVII, 1987, pp. 94–102.

'"A Chaos of Intelligence": Leonardo's Trattato and the Perspective Wars in the Académie Royale', 'Il se rendit en Italie'. Etudes Offertes à André Chastel, Paris, 1987.

'Leonardo e lo spazio dello scultore', XXVII, Lettura Vinciana, (Vinci, 1987), Florence, 1988.

'Clark's Leonardo' in edition of K. Clark, Leonardo da Vinci, ed. M. Kemp, Harmondsworth, 1988.

Leonardo on Painting. An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career as an artist, ed. M. Kemp, selected & trs. by M. Kemp and Margaret Walker, Yale University Press, 1989.

Leonardo da Vinci. Artist, Scientist, Inventor, catalogue of exhibition at the Hayward Gallery, London, 1989, ed. M. Kemp, with essays by E.H. Gombrich, J. Roberts, P. Steadman, M. Kemp and catalogue by M. Kemp (with J. Roberts), published as Leonardo da Vinci, Yale University Press.

'Leonardo da Vinci: motions of life in the lesser and greater worlds', Nine Lectures on Leonardo da Vinci, ed. F. Ames-Lewis, London, 1990, pp. 10–21.

'Looking at the Last Supper', Appearance, Opinion, Change: Evaluating the Look of Paintings, London, 1990, pp. 14–21.

'Cristo Fanciullo', Achademia Leonardi Vinci, IV, 1991, PP. 171–6.

'Leonardo verso il 1500', Leonardo & Venezia, exhibition catalogue, Palazzo Grassi, Venice, 1992, pp. 45–54.

'The Madonna of the Yarnwinder in the Buccleuch Collection reconstructed in the context of Leonardo's Studio Practice', I Leonardeschi a Milano: fortuna e collezionismo, ed. M.T. Fiorio and P. Marani, Milan, 1991, pp. 35–48.

Leonardo da Vinci. The Mystery of the Madonna of the Yarnwinder, with A. Thereza Crowe, exhibition catalogue, National Gallery of Scotland, Edinburgh, 1992.

'The National Gallery of Scotland's First Leonardo', National Art Collections Fund. Annual Report, LXXXVIII, 1992, pp. 16–20.

'"Hostinato Rigore", Valéry's Leonardo from Vincian Perspective', Forschungen zu Paul Valéry, IV, 1991, pp. 25–46.

'In the Beholder's Eye: Leonardo and the "Errors of Sight" in Theory and Practice' (Hammer Prize Lecture), Achademia Leonardi Vinci, V, 1992, pp. 153–62.

'From Scientific Analysis to the Renaissance Market: the Case of Leonardo's Madonna of the Yarnwinder', for The Journal of Medieval and Renaissance Studies, XXIV, 1994, pp. 259–74.

'The Historian as Connoisseur' in edition of A.E. Popham, The Drawings of Leonardo da Vinci, ed. M. Kemp, London, 1994.

'Leonardo's Drawings for “Il Cavallo del Duca Francesco di Bronzo”: The Programme of Research', Leonardo da Vinci's Sforza Monument Horse: The Art and the Engineering, ed. D. Cole Ahl, Cranbury (NJ), 1995.

Leonardo da Vinci, 1996, CD-ROM for Corbis, Seattle, overall consultant, general editor, part-author and part-presenter.

‘The Body of the Earth’, Leonardo da Vinci. Codex Leicester, ed. C. Farago, American Museum of Natural History, New York, 1996, pp. 15–22; in German as ‘Der Körper der Erde’, Der Codex Leicester, Haus der Kunst, Munich, 1999, 33–46 (also translated into Portuguese); and as “De Körper der Erde”, Wasser und Leben, Museum im Schloss Bad Pyrmont, 2000.

‘Leonardo’s Fossils’, Natural History, CV, 11, 1996, pp. 14–15.

‘The Reign of Vanities’, A Cloudburst of Material Possessions. A Fantasy on a Drawing by Leonardo da Vinci, exhibition guide, Purdy Hicks Gallery, London, 1997.

'Leonardo-Beuys: the Notebook as Experimental Field', for volume on Joseph Beuys. Drawings after the Madrid Codices of Leonardo da Vinci, ed. L. Cooke and K. Kelly, DIA Centre, New York; in German as “Leonardo-Beuys: das Skizzenbuch also Experimenterfield’, Joseph Beuys. Zeichnungen zu den beiden wiederentdeckten Skizzenbüchen “Codex Madris” von Leonardo da Vinci, Richter Verlag, Düsseldorf, 1988 and 1998, pp. 31–8.

16 Essays republished in Leonardo da Vinci. Selected Scholarship, ed. C. Farago, 5 vols., New York and London, 1999:

vol. I: ‘Leonardo da Vinci’ (from Dictionary of Art), pp. 40–60; ‘List of Dates’ (with Kenneth Clark), pp. 61–5

vol. II: ‘From Scientific examination to the Renaissance Market: The Case of Leonardo da Vinci’s Madonna of the Yarnwinder’, pp. 97–113. ‘Leonardo and the Space of the Sculptor’ (Lettura Vinciana in English), pp. 237–63; ‘Christo Fanciullo’, pp. 303–14; ‘Leonardo da Vinci: Science and the Poetic Impulse’, pp. 430–449.

vol. III: ‘Leonardo verso 1500’, pp. 23–32’ ‘Leonardo’s Leda and the Blevedere River-Gods: Roman Sources and a New Chronology’, pp. 168–80; ‘Late Leonardo: Problems and Implications’, pp. 382–90.

vol. IV: ‘Leonardo and the Visual Pyramid’, pp. 96–118; ‘In the Beholder’s Eye: Leonardol and the “Errors of Sight” in Theory and Practice’, pp. 123–135; ‘“Il concetto dell’anima” in Leonardo's Early Skull Studies’, pp. 205–29; ‘Dissection and Divinity in Leonardo’s Late Anatomies’, pp. 230–65; ‘Analogy and Observation in the Codex Hammer’, pp. 345–77.

vol. V: ‘The Crisis of Received Wisdom in Leonardo’s Late Thought’, pp. 81–96; ‘“A Chaos of Intelligence”: Leonardo's “Traité” the Perspective Wars at the Académie Royale’, pp. 389–400.

‘In Praise of Model making; from Leonardo to Beuys’, Demarco: On the Road to Meikle Segie, Kingston University, 2000, pp. 14–18.

‘Leonardo da Vinci: scienza e impulso scientifico”, “Hostinato Rigore”. Leonardiana in memoria di Augusto Marinoni, ed. P. Marani, Milan, 2000, pp. 32–45.

“'Fate come dico, non fate come faccio'. Lo Spazio e lo spettatore nell'Ultima Cena”, Il Genio e le Passioni, ed. P. Marani, Milan, 2001, pp. 53–9.

“Die Zeichen Lessen. Zur graphischen Darstellung von Physicher und mentaler Bewegung in den Manuscripten Leonardos”, Leonardo da Vinci. Nature im Übergang, ed. F Fehrenbach, 2002, pp. 207–26.

with M. Gharib, D, Kremmers and M. Koochenesfahani, “Leonardo’s vision of flow visualization”, Experiments in Fluids, XXXIII, 2002, pp. 219–223.

'”Your Humble and Faithful Servant”: Towards a History of Leonardo da Vinci in his Contexts of Employment', Gazette des Beaux Arts, CXL, 2002, pp. 181–94.

“Drawing the Boundaries”, Leonardo da Vinci. Master Draftsman, ed. C. Bambach, exhibition catalogue, Metropolitan Museum, New York (New Haven and London), 2003, pp. 141–54.

“Leonardo and the Idea of Naturalism: Leonardo’s Hypernaturalism”, Painters of Reality. The Legacy of Leonardo and Caravaggio in Lombardy, ed. Andrea Bayer, exhibition catalogue, Metropolitan Museum, New York, 2004, pp. 65–73; trans. “I’ipernaturalismo di Leonardo, Pittori della realtá, ed. M. Gregori and A. Bayer, Cremona, 2004, pp. 64–9

Leonardo, Oxford University Press, 2004 (translations: German, Portuguese [Portugal and Argentina], Italian, Korean, Japanese, Turkish, Bulgarian...) 2nd Edition 2011

Lezioni dell'occhio. Leonardo da Vinci, discepolo di esperienza, trans. M. Parizzi, Vita e Pensiero, Milan, 2004 (translation of 27 selected articles)

Leonardo da Vinci. The Marvellous Works of Nature and Man, revised ed., Oxford University Press, 2006

Leonardo da Vinci. Experience, Experiment and Design, Victoria and Albert Museum, London, and Princeton University Press, Princeton (NJ), 2006

La Bella Principessa, with P. Cotte, Hodder & Stoughton, London, 2010

La Bella Principessa, with P. Cotte. Italian version revised ed., Mandragora, Italy, 2012

Leonardo da Vinci. The Madonna of the Yarnwinder, with Thereza Wells, London, 2012

Mona Lisa. The People and the Painting, with Giuseppe Pallanti, Oxford, 2017

Living with Leonardo: Fifty Years of Sanity and Insanity in the Art World and Beyond, Thames & Hudson, 2018

Renaissance

(Other than Leonardo and art and science)

Cima da Conegliano in 'The Masters' Series, London, 1967

'The Panels of Standing Bishops in the Urswick Chapel', Report of the Society of the Friends of St. George's and Descendants of the Knights of the Garter, V, 1969–70, pp. 25–9.

'Visual Arts, Western' (Part Author), Encyclopædia Britannica, 15th edition, 1974, pp. 245–486 (sections on 16th-century art and architecture).

'From Mimesis to Fantasia; the Quattrocento Vocabulary of Invention, Imagination and Creation in the Visual Arts', Viator (Los Angeles), VIII, 1977, pp. 347–98.

'Botticelli's Glasgow Annunciation: Patterns of Instability'. The Burlington Magazine, CXIX, 1977, pp. 181–4.

Entries on Leonardo, Correggio, Parmagianino et al., in A Biographical Dictionary of Artists, ed. L. Gowing, London, 1983.

'The Taking and Use of Evidence, with a Botticellian Case Study', The Art Journal, XLIV, 1984, pp. 207–15.

'"Equal Excellences": Lomazzo and the Explanation of Individual Style in the Visual Arts', Renaissance Studies, (Society of Renaissance Studies Annual Lecture), I, 1987, pp. 1–26 (Portuguese translation, Zona Torrida, XX, 1991, pp. 103–40)

'The `Super-Artist' as Genius. The Sixteenth-Century View' in Genius, ed. P. Murray, Oxford, 1989, pp. 32–53.

Edition of and introduction to Leon Battista Alberti, On Painting (trs. C. Grayson) for Penguin Classics and Viking, 1991.

'The Altarpiece in the Renaissance: a Taxonomic Approach', The Altarpiece in the Renaissance, ed. P. Humfrey and M. Kemp, Cambridge University Press, 1990.

'Paolo Uccello's Hunt in the Forest' (with A. Massing), The Burlington Magazine, CXXXIII, 1991, pp. 164–78 (also produced as a booklet for the Ashmolean Museum, Oxford).

'Ludovico Cigoli on the Origins and Rationale of Painting', Mitteilungen des Kunsthistorischen Instituts in Florenz, xxxv, 1991, PP. 133–52

'The Rationalisation of Space: Geometry and the Man-made Environment'; 'The Human Body: New Anatomies and Old Ideals'; and 'Universal Visions: Leonardo and Dürer', plus catalogue entries, Ca. 1492. Art in the Age of Discovery, National Gallery, ed. J. Levenson, Washington, 1991-2.

'Renascence of the Renaissance, or Pop Goes the Ermine', Art Quarterly, 49, 1992, pp. 54–6.

'Virtuous Artists and Virtuous Art', Notions of Decorum in Renaissance Narrative Art, ed. F. Ames Lewis and A. Bednarek, London, 1992, pp. 15–23.

'Coming into Line: Graphic Demonstrations of Skill in Renaissance and Baroque Engravings', Sight and Insight. Essays on Art and Culture in Honour of E.H. Gombrich at 85, ed. J. Onians, 1994, pp. 221–44.

'In the Light of Dante: Observations on Divine and Natural Light from Piero della Francesca to Michelangelo', Ars naturam adiuvans. Festschrift für Matthias Winner, ed. V Flemming and S. Schütze, Mainz, 1996, pp. 160–77.

Behind the Picture: Art and Evidence in the Italian Renaissance, London and New Haven, 1997

in German as Der Blick hinter der Bilder. Text und Kunst in der italienischen Renaissance, Dumont, Cologne, 1997 (French and Italian translations awaited)

“Verrocchio’s “San Donato” and the Chiesina della Vergine di Piazza in Pistoia’, Pantheon, LVI, 1998, pp. 25–34.

‘Making it Work: the Perspective Design of the Gubbio Studiolo” in, The Gubbio Studiolo and its Conservation, O. Raggio, 2 vols., Metyropolitan Museum of Art, New York, 1999, I, pp. 169–77.

Entries on Leonardo da Vinci, Portrait of Cecilia Gallerani and Giorgione, La Tempesta, in The Folio Society Book of the 100 Greatest Paintings, London, 2001, pp. 44–5 and 54-5.

with Eun Sung Kang, "The Engineering of the Composition", Raffaello da Firenze a Roma exhibition catalogue, Borghese Gallery, Rome, 2006

Contemporary

(Εxcluding exhibition reviews)

'Kate Whiteford. A Personal Impression', Votives and Libations in Summons of the Oracle, St. Andrews, 1983.

'Stephen Farthing: Feeling Spaces', Stephen Farthing. The Knowledge: Exeter, Spacex Gallery, Exeter, 1991.

'"Fateful Lines": Drawings by W. Barns-Graham', W. Barns-Graham. Drawings, Exhibition Catalogue, St. Andrews etc., 1992.

'Our Identity is Our Discomfort', Michael Esson, Exhibition Catalogue, St. Andrews, Aberdeen, 1990.

Sitelines. Kate Whiteford, Edinburgh, 1992.

‘Eduardo Paolozzi’, Spellbound, exhibition Catalogue, Hayward Gallery, London, 199*, pp. 101–7.

‘The Beholder’s Share’, James Hugonin, exhibition catalogue, Kettle's Yard, Cambridge, 1996.

‘Singing Nature’s Song’, Wilhelmina Barns-Graham. New Paintings, Art Fist, London, 1999.

‘Durch eine Scheibe, die machmal matt ist. Der Spiegel, die Kamera und das Medium’, John Hilliard, ed. U Nusser and M. Wallace, Heidelberg, 1999, pp. 74–83. In English as ‘“Through a Glass Darkly”: the Mirror, the Camera and the Medium’, John Hilliard, London, 1999, pp.

‘The Music of Waves. The Poetry of Particles’. Thoughts on the Implicate Order for Susan Derges’, Susan Derges. Liquid Form, Lonson, 1999, pp. 5–30.

‘Art as Process. A Baker’s Dozen for Gustav Metzger’, Gustav Metzger, Retropsectives, Museum of Modern Art, Oxford, 1999, pp. 29–43.

“We All Live in a Tin Submarine”, Reinhard Behrens. Twenty-Five Years of Expeditions into Naboland, Glasgow, 2000, p. 34.

Other periods and issues

'Some reflections on Watery Metaphors in Winckelmann, David and Ingres', The Burlington Magazine, CX, 1968, pp. 266–70

'William Leighton Leitch and the Mauchline snuff-box trade in Burns souvenirs', The Connoisseur, CLXX, 1969, pp. 148–52

'Ingres, Delacroix and Paganini: Exposition and Improvisation in the Creative Process' L'Arte, IX, 1970, pp. 49–66.

'J.-L. David and the Prelude to a Moral Victory for Sparta', Art Bulletin, LI, 1970, pp. 49–65.

'Alexander Nasmyth and the Style of Graphic Eloquence', The Connoisseur, CLXXIII, 1970, pp. 93–100

'Scott and Delacroix, with some Assistance from Hugo and Bonnington', in Scott Bicentenary Essays, ed. A. Bell, Edinburgh, 1973, pp. 213–27

'The Hunterian Chardins X-rayed', The Burlington Magazine, CXVIII, 1976, pp. 144–8.

'A Date for Chardin's Lady Taking Tea', The Burlington Magazine, CXX, 1978, pp. 22–5.

'Seeing and Signs: E.H. Gombrich in Retrospect', Art History, VII, 228-43, 1984.

Review Article, 'Michael Baxandall's Patterns of Intention', in Zeitschrift für Kunstgeschichte, L, 1987, pp. 131–42.

'Museums and Scholarship', Working with Museums, ed. T. Ambrose, Edinburgh, 1988, pp. 31–40.

'A loss of balance: the Trustee Boards of National Museums and Galleries, The Burlington Magazine, CXXXI, 1989, pp. 355–7.

'Lust for Life: Artist's Biographies in Fact and Fiction', L'Art et les revolutions (XXVIIe Congrès International d'Histoire de l'Art, 1989), vol. VII, ed. S. Ringbom, Strasbourg, 1992, pp. 167–86.

'Towards the Creative Contract', The Visual Arts for the Charter 2000, Scottish Arts Council, Edinburgh, 1992 (partly incorporated but not credited).

'The 'Art of Seeing Nature': Points of View in the Perception of Landscape in Britain, 1770–1850, De la beauté a l'ordre du monde: paysage et crise de la lisibillité, ed. L. Mondada, F. Panese and O. Söderström, Lausanne, 1992, pp. 47–72.

"'The Guidelines for the Professional Practice of Art History' issued by the Association of Art Historians in Great Britain", International Journal of Cultural Property, I, 1992, pp. 239–51.

'Mute Signs and Blind Alleys', Art History, XVI, 1993, pp. 475–9.

ed., 'Mood of the Moment' Masterworks of Photography from the University of St. Andrews, exhibition catalogue, Crawford Arts Centre, University of St. Andrews and National Museums of Scotland, Edinburgh, 1993-4.

Articles on Leonardo, Giorgione, et al. Perspective, Art and Science etc. in the Macmillan Encyclopaedia of Art, 1996.

‘Object Lessons’, Introduction to the Report of the Museum’s Education Initiative, Scottish Museums Council, Edinburgh 1996.

‘Talbot and the Picturesque View. Henry, Caroline and Constance’, History of Photography, XXI. 1997, pp. 270–282.

‘“A Perfect and Faithful Record”: Mind and Body in Photography before 1900’, Beauty of Another Order, ed. A Thomas, New Haven and London, 1997, pp. 120–49.

with Marina Wallace, ‘What’s it Called and What’s it For?’, Interfaces, XIV, 1998, pp. 9–25.

‘“The Excellency of Each Class”’. Visiting with Sir Joshua’, Paintings from the Dulwich Picture Gallery, Lothbury Gallery, Natwest GrOUP, London, 1999.

The Oxford History of Western Art, editor and part-author, Oxford, 2000 (also in German, and Portuguese).

"Instinctively Radical", Raising the Eyebrow: John Onians and World Art Studies, ed. L. Golden, BAR International Series, 996, 2001, pp. v–vii

with Nicholas Lambert, “L’Art via l’ordinateur: un nouveau cru ou juste une novelle étiquette?”, Ruptures. De la discontinuité dans la vie artistique, Paris, 2002, pp. 269–284.

with Kelley Wilder, “Proof Postsive in Sir John Hershel’s Concept of Photography”, History of Photography, XXVI, 2002, pp. 358–66.

Interview with Karen Raney, Art in Question, ed. K. Raney, London and New York, 2003, pp. 182–213.

"Hew Lorimer: from Spirit to Stone", Sculpture Journal, XV, 2006, pp. 52–67.

Four 25-minute radio interviews with artists on the ‘Human Condition’ for Radio 3.

(In addition to the above: articles and reviews in Art History, Zeitschrift für Kunstgeschichte, Burlington Magazine, the Times Literary Supplement, the Times Higher Education Supplement, The London Review of Books, The Guardian, Nature, etc., and regular radio interviews and discussion programmes with practising artists for 'Third Ear' on BBC 3, and various T.V. programmes, also consultant for TV programmes for ITN, BBC and other companies.)

Lodovico Cigoli's 'Prospettiva Pratica', the first edition and translation with M. Chappell and F. Camerota, for Cambridge University Press.

The Human Animal, the Brosse Lectures, 2006, University of Chicago Press, looking at the representation of humans with animal characteristics and at animals as humans.

Leonardo da Vinci. The Madonna of the Yarnwinder, 2007 or 2008

Geometry in the Roundels of the Munich Madonna, Alte Pinakotek, autumn, 2006

Imitation, Optics and Photography, for Max Planck Institute, Berlin, pub 2007

Christ to Coke, How Image becomes Icon, OUP, 2011

See also

Salvator Mundi (Leonardo)

References

^ "M J Kemp" (PDF). gazette.web.ox.ac.uk. Retrieved 27 September 2018.
^ Kemp, Martin J., and Cotte, Pascal (2012). La bella principessa di Leonardo da Vinci. Ritratto di Bianca Sforza. Firenze: Mandragora. ISBN 9788874611737

External links

Martin J. Kemp – official site
Professor Kemp's page at Oxford University
What makes an Image an Icon – OUPblog
Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF), which contains an essay by Martin Kemp
Painters of reality : the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF), which contains an essay by Martin Kemp
Mona Lisa and the Body of the Earth: A Lecture by Martin Kemp at The Laguna Art Museum (11.15.16) – Vimeo

 

GIUSEPPE PAGANO

CARLO PEDRETTI

Carlo Pedretti (6 January 1928 – 5 January 2018) was an Italian historian. His area of expertise was the life and works of Leonardo da Vinci.[1] He was a professor of art history and Armand Hammer Chair in Leonardo Studies at the University of California, Los Angeles from 1960 until his retirement in 1993.

Life

Carlos Pedretti was born in Bologna. By his 13th birthday Pedretti had taught himself to write left handed and read backwards as did Leonardo. Pedretti's first articles about Leonardo were published in 1944 at the age of 16. 
From 1960 until his retirement in 1993, Pedretti was a professor of art history and Armand Hammer Chair in Leonardo Studies at the University of California, Los Angeles. He was the author of more than 60 books and 500 essays and articles in various languages. He moved to Italy in 2013 to live in the Villa di Castel Vitoni in Lamporecchio and direct the Rossana and Carlo Pedretti Foundation. He was also a regular of the cultural pages of the Corriere della Sera and de L'Osservatore Romano. In his foreword for the book Carlo Pedretti - A Bibliography of His Work On Leonardo da Vinci and The Renaissance (1944-1984), art historian Kenneth Clark states: "[Pedretti] is unquestionably the greatest Leonardo scholar of our time..."
Pedretti died on 5 January 2018, one day before to his 90th birthday.

Honors and Memberships
The honors conferred upon Pedretti in Italy and abroad included the Gold Medal for Culture of the President of the Italian Republic in 1972, and in that same year, the Congressional Citation by the United States Congress. He was awarded honorary citizenship of the cities of Arezzo (2001) and Vinci (2008) and honorary degrees from the Universities of Ferrara (1991), Urbino (1998), Milan (Catholic, 1999), and Caen (2002). He was an honorary member of the Accademia degli Euteleti in San Miniato al Tedesco and of the Accademia Raffaello in Urbino. Pedretti was a member of the Permanent Commission for the National Edition of the Manuscripts and Drawings by Leonardo da Vinci.

Selected bibliography

JEAN PAUL RICHTER

Jean-Paul Richter est un historien de l'art allemand, né à Dresde le 7 juin 1847 et mort à Lugano le 25 août 1937, à qui on doit la première compilation des écrits de Léonard de Vinci, The Literary Works of Leonardo da Vinci Compiled and Edited from The Original Manuscipts, parue en 1883.

Biographie

Jean-Paul Richter fit d’abord des études en théologie avant de s‘intéresser à l'histoire de l‘art. Sa rencontre avec Giovanni Morelli en 1876 fut déterminante. Morelli vit en lui le disciple capable de perpétuer la méthode d’attribution qu'il avait élaboré en se fondant sur l’examen des détails d’un tableau. La confiance entre les deux hommes dura jusqu’à la mort de Morelli en 1891. En 1877, Richter quitta l’Allemagne pour s’installer à Londres. Morelli fournit à son élève les lettres de recommandation nécessaires, tout comme, quelques années plus tard, Richter devait lui recommander le jeune Bernard Berenson.

Richter aida l’industriel Ludwig Mond à constituer sa collection de tableaux de maîtres italiens qui fut léguée plus tard à la National Gallery de Londres. Il rédigea le catalogue des peintures italienne de cette même National Gallery. En 1883, il publia l’œuvre pour laquelle il est le plus connu, son édition des écrits de Léonard de Vinci, The Literary Works of Leonardo da Vinci Compiled and Edited from The Original Manuscipts1. Il ne s’agit pas d’une tentative (comme celle de Raphaël Trichet du Fresne en 1651) pour reconstituer le Traité de la Peinture de Léonard de Vinci, mais d’une compilation regroupant tous les thèmes abordés par Léonard dans ses manuscrits, aussi bien la perspective ou la théorie des couleurs que la géologie ou les maximes philosophiques, méthode que reprit Mc Curdy pour ses Notebooks, en 1938.

Publications

Die Mosaiken von Ravenna. Beitrag zu einer kritischen Geschichte der altchristlichen Malerei. Vienna: W. Braumüller, 1878;

Catalogue of the Pictures in the Dulwich College Gallery, with Biographical Notices of the Painters. London: Spottiswoode, 1880;

Italian Art in the National Gallery. London: S. Low, Marston, Searle, and Rivington, 1883; edited, The Literary Works of Leonardo da Vinci. 2 vols. London: S. Low, Marston, Searle & Rivington, 1883;

Quellen der byzandtinischen Kunstgeschichte ausgewählte Texte über die Kirchen, Klöster, Paläste, Staatsgebäude und andere Bauten von Konstantinopel. Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Renaissance, neue Folge ; Volume VIII. Vienna: C. Graeser, 1897; and Mond, Robert. La Collezione Hertz e gli affreschi di Giulio Romano nel palazzo Zuccari. Leipzig: Poeschel & Trepte, 1928; and Taylor, A. Cameron.

The Golden Age of Classic Christian Art. London: Duckworth and Co., 1904; [manuscript diaries, 1873-1932,] Duke University Rare Book, Manuscript and Special Collections Library.

Jean-Paul Richter (1847 – 1937) was a German art historian.

https://en.wikipedia.org/wiki/Jean_Paul_Richter

Richter was born in Dresden as the son of a theologian and studied theology himself, becoming tutor to the young Alexander Frederick, Landgrave of Hesse.[1] His appointment as tutor gave him the opportunity to travel around Europe and he became interested in Italian art. He wrote for Baedecker tourist guides and met Giovanni Morelli in 1876, whom he later introduced to Bernard Berenson. He moved to London in 1877 and wrote several catalogues of art, but is chiefly remembered today for his work on the notebooks of Leonardo da Vinci.[2]

His wife Luise Marie Schwaab and their daughters Irma and Gisela M. A. Richter were also art historians.

References

^ Jean Paul Richter in the Dictionary of Art Historians

^ Books by Richter on Project Gutenberg

 

EDMONDO SOLMI

 

Edmondo Solmi (Finale Emilia, 1874 – Spilamberto, 1912) è stato un insegnante e storico italiano.

Biografia

Dopo gli studi all'Istituto di studi storici di Firenze e all'Università di Bologna, è professore di filosofia a Mantova e al Liceo Gioberti di Torino, insegna Storia della filosofia presso l'Università di Torino dal 1908 al 1910 e all'Università di Pavia dal 1910 al 1912.

È stato un apprezzato studioso della filosofia del Rinascimento e del Seicento, con numerosi contributi su Leonardo da Vinci e Tommaso Campanella, e del pensiero politico del Risorgimento, in particolare di Giuseppe Mazzini e Vincenzo Gioberti.

Bibliografia

E. Solmi, Introduzione a T. Campanella, La città del sole, Modena, Rossi, 1904
E. Solmi, Appunti di storia della filosofia, Torino, Viretto, 1910
E. Solmi, Leonardo da Vinci. Conferenze fiorentine, Milano, Treves, 1910
E. Solmi, Leonardo. 1452-1519, Firenze, Barbera, 1923
E. Solmi, Scritti vinciani, Firenze, La Voce, 1924

Altri progetti

 Wikisource contiene una pagina dedicata a Edmondo Solmi