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One of Western civilization's jealously guarded myths is that of Greek cultural supremacy. In this controversial study, William Ivins shows that the limitations of the Greek worldview actually hampered the development of the arts and sciences and gives a stimulating history of the new ideas of the Renaissance, especially in painting and geometry, that freed us from ancient misconceptions. Beginning with the Greeks, the author explains for the general reader the differences between ancient and Renaissance painting and sculpture, proving that the curiously static quality of Greek art arose from a misunderstanding of the laws of perspective. He then shows how this misunderstanding was corrected by Alberti, Pelerin, Durer, and other Renaissance artists who provided the first fruitful investigations of perspective. From there to projective geometry was but a step, and the author covers this major advance in our knowledge through the work of Nicholas of Cusa, Kepler, and Desargues. This book is perhaps the only concise history in English of the development of mathematical perspective and projective geometry. But the author's ability to relate styles in art to advances in geometry and his ingenious theory of the modern "visual" worldview and the Greek "tactile" worldview mean that his book will be provocative not only to mathematical historians but also to art historians and to anyone concerned with the history of thought, from philosopher to layman.
- Sales Rank: #1042088 in eBooks
- Published on: 2012-10-16
- Released on: 2012-10-16
- Format: Kindle eBook
From the Back Cover
One of Western civilization's jealously guarded myths is that of Greek cultural supremacy. In this controversial study, William Ivins shows that the limitations of the Greek worldview actually hampered the development of the arts and sciences and gives a stimulating history of the new ideas of the Renaissance, especially in painting and geometry, that freed us from ancient misconceptions.Beginning with the Greeks, the author explains for the general reader the differences between ancient and Renaissance painting and sculpture, proving that the curiously static quality of Greek art arose from a misunderstanding of the laws of perspective. He then shows how this misunderstanding was corrected by Alberti, Pelerin, Durer, and other Renaissance artists who provided the first fruitful investigations of perspective. From there to projective geometry was but a step, and the author covers this major advance in our knowledge through the work of Nicholas of Cusa, Kepler, and Desargues.This book is perhaps the only concise history in English of the development of mathematical perspective and projective geometry. But the author's ability to relate styles in art to advances in geometry and his ingenious theory of the modern "visual" worldview and the Greek "tactile" worldview mean that his book will be provocative not only to mathematical historians but also to art historians and to anyone concerned with the history of thought, from philosopher to layman.
Most helpful customer reviews
10 of 11 people found the following review helpful.
So much for classical Greek culture
By wiredweird
Ivins uses this brief book to express his regard for classical Greece's culture, art, and contribution to the last two millennia of Western culture.
That regard is very low. He first starts by debunking their ideas of perspective. It's a brief task because, as he demonstrates clearly, they had nothing we could identify by that name. Instead of arranging figures according to the logic of sight, Ivins argues that Greek art arranged figures according to a `tactile' perspective, as if they were placed for easy reach rather than easy visual interpretation. He also dismisses the classical Greek sense of composition, on the ground that there was none. Figures were simply placed, without regard for their relationship to a time sequence, to a landscape, or to each other. He uses, as example, the battle friezes of Bassae, which were dismantled without noting their relationships to each other. At least six guesses at their arrangement, based on content, were in turn declared to be `definitive.' The question of their proper order was only resolved when mounting marks on the backs were matched to the holes in the walls from which they had been detached - with no regard to the pictures themselves.
The rest of the book argues likewise against the importance of classical Greek science, philosophy, and even Aristotelian logic (or illogic). Along the way, Ivins throws a number of barbs at the so-called scholars of ancient Greek culture, including those who argue the relative merits of different works that no longer existed even at the time of the earliest known commentary on them.
This brief book (or sustained essay) is a wonderful contrarian work by a man of inarguable qualification. He was director of prints for many years, in the Metropolitan Museum in New York, well trained in art but independent of traditional scholarship. It's great by itself, or as a foil to your favorite snob of the classics - enjoy!
//wiredweird
0 of 0 people found the following review helpful.
Dismantling the Grecian Impact on Western Culture
By Steve Proctor
The study of geometry in respect to art has never been as stimulating as in William Ivins' book, Art and Geometry: A Study in Space Intuitions. Readers will be surprised to see Ivins debunk commonly-held notions about art and math from Grecian culture as he begins by explaining "simple homemade experiments" to more complex research. He delves into Artistotle, Plato, the "falsity of art" and the "truth of geometry" as each component relates to another.
One of the most surprising components of Ivins' book is his ability to break down classical Greek ideas regarding composition in a way that makes sense for the layman. This book takes a fresh approach toward topics like Greek philosophy, logic, and science, tearing apart many components of art and math that others are afraid to each approach. Even those who do not agree with his message will find it to be a remarkable and intriguing read.
While this book might be short, it is packed with information about Grecian art, math, and culture that still impact the thriving nature of Western culture. Readers will end the book feeling that they have a better grasp of the natural world as it actually exists, not as it would be easier to manager. A great follow-up in my opinion would be The Painter's Secret Geometry: A Study of Composition in Art, as it will utilize the understanding as a lens to then explores paintings by the masters.
0 of 0 people found the following review helpful.
spectacular deconstruction of ordinary habits of scientific merit
By Barnaby
William Ivins recognizes in projective geometry the truly modern description of reality, and more than reality's mere presentation of itself by means of technology, far more: by pointing out that the spatial models evolved by conics and subsequent development after Desargues, may indicate a future understanding of physics. Remarkable book.
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