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Possibilities and Impossibilities: Newton’s Discovery of White Light and its Implications for Eighteenth-Century Venetian Art| old_uid | 12309 |
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| title | Possibilities and Impossibilities: Newton’s Discovery of White Light and its Implications for Eighteenth-Century Venetian Art |
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| start_date | 2013/04/10 |
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| schedule | 15h-17h |
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| online | no |
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| details | Séminaire FILE-AVE |
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| summary | The talk will investigate the importance of Newton’s discovery of the composition and property of light for a circle of artists associated with the radical Enlightenment in Venice. It will discuss the representation of the material property of light in the brushwork of the Giantonio Guardi and Giambattista Tiepolo and calibrate this type of idiom and rhetoric within the wider European intellectual culture of the time. What we find on the canvases of the early modern painters sets the stage for modernity, anticipating Impressionism, even Surrealism. In a final stage, the talk will touch on what modern neuroscience has revealed about consciousness formation and how the eighteenth-century artists and philosophers had an acute sense of how the human brain works
S
hort Biography :
Johanna Fassl is an associate professor of art history and visual communication and department chair at Franklin College Switzerland, in addition to being the director of Casa Muraro, Columbia University’s Study Center in Venice. She received her PhD (with distinction) from Columbia University and has since been the recipient of a Mellon Fellowship and Getty Postdoctoral Fellowship for her research. Her areas of specialization include the art and architecture of Venice ; her book Sacred Eloquence : Giambattista Tiepolo and the Rhetoric of the Altarpiece was published with Peter Lang in 2010. Current research projects include notions of visuality in Enlightenment art, science, and philosophy with respect to Newton’s discoveries of white light, space, and gravity. She is also engaged in a study titled “Missed Encounters : Representing the Un-representable in ,” and a comprehensive research project that concerns the visual culture of disasters, in particular investigating the art of veterans from Iraq and Afghanistan. |
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| responsibles | Pelletier, Arcangeli |
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