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Pierre Faveau
La Perspective
Paris, Éditions Prisma, Ciné-Mémo Prisma, 1953. Broché, 12 cm x 15,5 cm, 50 pages, 50 photos et illustrations noir & blanc in et hors-texte. Texte de Pierre Faveau. Bon état
Reference : 22922
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Librairie Sedon
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5 book(s) with the same title
La Pratica della perspettiva, opera molto profittevole a pittori, scultori e architetti. Précieuse et rare édition originale du grand traité d’architecture de Barbaro, le premier ouvrage de perspective pratique publié en Italie.
Séduisant exemplaire conservé dans son vélin souple du temps. L’exemplaire personnel du peintre Antoine Rivalz, avec son ex-libris manuscrit. Venetia, Camillo e Rutilio Borgominieri, 1569. In-folio de (1) f. bl., 195 pp., (6) ff. Vélin souple, titre calligraphié au dos, mouillures éparses, petites galerie de vers marginales sans aucune atteinte au texte. Reliure de l’époque. 313 x 225 mm.
Précieuse édition originale de 1568, avec titre de relais, de ce rare traité. Adams, B-171 ; Berlin Kat., 4694 ; Brunet, I, 644; Cicognara, 809; Fowler, 36; Gamba, 1233; Mortimer Italian, 39 ; Censimento, 16 CNCE, 4133 ; Riccardi, I, p. 76-77. Elle est illustrée d’un très beau titre gravé et de 200 figures gravées dans le texte représentant des illusions d’optique, des formes géométriques, des perspectives, des coupes architecturales, le théâtre de Franceschi, des lettrines, les mesures du corps humain… Plusieurs états de l’édition originale sont décrits sans priorité : le premier dans lequel la date du titre et du colophon est 1568, un état intermédiaire avec le titre seul daté de 1569, un autre dans lequel les deux dates sont changées. Il s’agit du premier ouvrage de perspective pratique publié en Italie. « Opera dottissima e diligentissima” (Cicognara). Les trois bois à pleine page de scènes de théâtre proviennent du Serlio de 1566 ; d'autres sont des copies de Dürer Underweysung der messung. La dernière planche donne une belle représentation d'un instrument de mesure nouvellement inventé par Giacomo Fusto Castriotto. “Barbaro mentions a camera obscura fitted with a ci-convex lens. He introduces a novelty - the use of a diaphragm to sharpen the image. This is the first mention of a device essential in photography... " (Gernsheim, Hist. of Photogr., p. 22) Barbaro reprend dans son ouvrage les idées de Pelerin, Durero, Serlio et Cataneo en les simplifiant et en rendant la perspective plus accessible aux artistes, aux architectes aux peintres et aux sculpteurs. Il donne la première description de la « camera oscura ». “Daniele Barbaro (1514-1570) took an enthusiastic interest in perspective. He was a well-educated scholar from the Venetian nobility and had a distinguished diplomatic career, first within the political administration – spending part of this period as an ambassador to England- and later in ecclesiastical circles. His many activities included commenting on and supervising the publication of an edition of Vitruvius’s work on architecture. In 1568 Barbaro published “La pratica della pespettiva”. On the title page of the work he claims it was beneficial reading for painters, sculptors and architects. Barbaro was well acquainted with the perspective literature and covered almost all the aspects of the discipline known at the time and in a way that makes his book almost encyclopedic.” (K. Andersen). Séduisant exemplaire conservé dans son vélin souple du temps. Provenance : ex-libris manuscrit du peintre Antoine Rivalz daté de 1701 correspondant à l’année de son retour de Rome à Toulouse, après plus de dix ans en Italie. Riche de l’enseignement qu'il avait reçu à Toulouse, à Paris et à Rome, Antoine Rivalz créa un style original et varié, influencé par l'art baroque, l'art classique, les traditions picturales du XVIIe siècle et l'héritage des écoles italiennes.
Opera mathematica ou œuvres mathématiques traictans de géométrie, perspective, architecture et fortification par Samuel Marolois de nouveau reveue, augmentée et corrigée par Albert Girard, Mathématicien. Edition originale collective des Œuvres scientifiques et architecturales de Samuel Marolois (1572-1627), « célèbre mathématicien et ingénieur hollandais », ornée de 89 planches doubles.
Précieux exemplaire relié en vélin de l’époque aux armes d’Antoine de Roore, élu abbé de St Martin de Tournai le 9 décembre 1622. Amsterdam chez Jan Janssen, 1628. In-folio de 1 titre dans un encadrement allégorique gravé sur cuivre et 42 pages. - Suivi de: Marolois, Samuel. Fortification ou architecture militaire, tant offensive que deffensive; supputée et dessinée par Samuel Marolois. Revueu, augmentée et corrigée par Albert Girard. Mathématicien. Amsterdam, chez Jan Janssen, 1638. (2) ff., 46 pages, 1 tableau et 42 planches sur double-page. - Suivi de: Marolois, Samuel. Géométrie, contenant la théorie et pratique d’icelle, nécessaire à la fortification. Jadis escrite par Samuel Marolois Mais depuis corrigée et la plupart du Discours changé et rédigé en meilleur état par Albert Girard Mathématicien. Amsterdam, chez Jan Janssen, 1638. 1 titre dans un encadrement allégorique gravé sur cuivre, 53 pp., (1) p. d’errata, 47 planches sur double-page. Ensemble 3 ouvrages en 1 volume in-folio, plein vélin ivoire à recouvrements, armoiries dorées frappées au centre des plats, dos lisse, attaches. Reliure armoriée de l’époque. 300 x 189 mm.
Intéressante édition originale collective des Œuvres de Mathématiques et d’architecture de Samuel Marolois ornée de 89 planches à double-page d’architecture et de mathématiques. Samuel Marolois, né en 1572 dans les Provinces-Unies, mort à La Haye avant 1627, est un mathématicien et ingénieur militaire hollandais. Il réalisa des fortifications en forme d'heptagone pour la ville de Coeverden (Pays-Bas) et fut un des premiers à écrire des ouvrages sur les systèmes d'attaque ou de défense d'un siège. Contemporain d'Antoine de Ville, il reprit les ouvrages de perspective de Hans Vredeman de Vries, qu'il publia après sa mort. Il a fortifié Coevorden (Drenthe), réalisant un heptagone et, à cette occasion, il est considéré comme le créateur du « tracé hollandais » ou de fausse braye (terme dont use Rabelais dès 1546). En 1627, les Opera mathematica furent révisés par le brillant mathématicien Albert Girard (1595-1632), protestant français réfugié aux Pays-Bas, qui traduisit aussi Stevin en français et qui est probablement le premier à avoir utilisé l'abréviation Sin E pour désigner le sinus d'un angle, la Géométrie en l’occurrence. Ses révisions furent maintenues dans toutes les éditions postérieures, imprimées en italiques et ainsi facilement reconnaissables en tant qu’interventions postérieures à l’écriture du texte. D’autres révisions furent ajoutées en 1628 par Theodor Verbeeck dans la Géométrie et Frans van Schooten dans la Fortification. «Marolois » a écrit des ouvrages mathématiques, de géométrie et de perspective, qui ont pour but de montrer aux architectes comment on forme, par exemple, un carré dans un triangle, comment on calcule les lignes d'un hexagone. Ce sont en premier lieu des ouvrages militaires, destinés à bâtir des fortifications. Quelques-uns de ces ouvrages, dont « Fortification ou architecture militaire, » (1615) furent revus par Albert Girard. Précieux volume scientifique relié en vélin ivoire de l’époque aux armes d’Antoine de Roore, né à Courtois, élu abbé de l’Abbaye de St Martin de Tournai le 9 décembre 1622. En 1654, Pierre Cazier devint son coadjuteur. Il mourut le 20 décembre 1655.
Perspective as Practice. Renaissance Cultures of Optics
, Brepols, 2019 Hardback, 512 pages, Size:178 x 254 mm, Illustrations:143 b/w, 46 col., 2 maps b/w, Language: English. ISBN 9782503581071.
Summary This book is about the development of optics and perspective between the fifteenth and seventeenth centuries. The point of departure of this book is the recognition of the polysemy of perspective, that is, the plurality of meanings of perspective. To bring forward the polysemy of perspective, this book explores the history of perspectiva in terms of practices, a conglomerate of material, social, literary and reproductive practices, through which knowledge claims in perspective were produced, promoted, legitimated and circulated in and through a variety of sites and institutions. The ways optical knowledge was used by different groups in different places (such as the university classroom, the anatomist's dissection table, the goldsmith's workshop, and the astronomer's observatory) defined the meanings of Renaissance perspective. As this period was characterized by widespread 'optical literacy', perspective was defined in different ways in different places and sites by various groups of practitioners. Most interestingly, sites such as the theatre, the instrument maker's workshop and the courtly garden were home to practices of perspective which have remained on the margin, or even completely invisible, in the historiographies of optics and perspective. The book also brings out the differences between codifications of perspectiva and practice. There were a variety of non-Albertian constructions to create the illusion of space, and other types of optical knowledge were as important to artists as the geometry of perspective. TABLE OF CONTENTS Sven Dupr , Introduction I. Sites of Perspective Marvin Trachtenberg, Perspective and Artistic Form: Optical Theory and Visual Culture from Giotto to Alberti Marjolijn Bol, The Emerald and the Eye: On Sight and Light in the Artisan's Workshop and the Scholar's Study Samuel Gessner, The Perspective of the Instrument Maker: The Planispheric Projection with Gemma Frisius and the Arsenius Workshop at Louvain Tawrin Baker, Dissection, Instruction, and Debate: Visual Theory at the Anatomy Theatre in the Sixteenth Century Jaime Cuenca, The Princely Point of View: Perspectival Scenery and Aristocratic Leisure in Early Modern Courts Juliet Odgers, The Optical Construction of John Evelyn's 'Dyall Garden' at Sayes Court II. Writing on Perspective Elaheh Kheirandish, Optics and Perspective in and beyond the Islamic Middle Ages: A Study of Transmission through Multidisciplinary Sources in Arabic and Persian A. Mark Smith, The Roots and Routes of Optical Lore in the Later Middle Ages and Renaissance Dominique Raynaud, A Hitherto Unknown Treatise on Shadows Referred to by Leonardo da Vinci Sven Dupr , How-To Optics Jose Calvo Lopez, Teaching, Creating, and Using Perspective in Sixteenth-Century Spain: The Architectural Notebook of Hernan Ruiz II III. Drawing, Constructing, Painting Filippo Camerota, Masaccio's Elements of Painting: Geometrical Practice in the Trinity Fresco Pietro Roccasecca, Divided into Similar Parts: Representation of Distance and Magnitude in Leon Battista Alberti's De pictura J.V. Field, The Use of Perspective in the Art of Piero della Francesca Paul Hills, The Venetian Optics of Light and Geometry of Proportion Georges Farhat, Constructed Optics and Topographic Perspective at the Grand Canal of Versailles
La pratica di prospettiva. 2 parts. - [FUNDAMENTAL WORK ON PERSPECTIVE]
Venice, Girolamo Franceschi, 1596. Folio (400x260 mm). Two parts bound in one later (presumably 19th century) sprinkled full calf with blindstamped geometrical ornamentations to boards. Leather on back board renewed. Engraved title-page neatly restored at inner margin, far from affecting imprint" old owner's inscription (""""Ex libris Ludovici A. la...""), crossed-out previous owner's name, and traces after a stamp to title-page. With Medici arms at the top and those of Sirigatti at foot of title-page, repeated on title-page of part two. As with all other copies we have been able to locate, the title-page is trimmed, affecting approximately 1 cm of the allegorical depictions in margin. Large woodcut printer's device at the end of the volume. Light occassional discolouring, but overall in very fine condition. 1 f. (allegorical frontispiece), 3 ff. (of dedication and index), 43 plates numbered with parallel text, 1 f. (large woodcut printer's device), 22 copper engraved plates (including the title-page of the second part) numbered 44-65. I.e. 65 plates in total - fully complete.
The rare first edition of this most important work on the art of perspective: ""Questa e la più elegante delle edizioni di libri prospettici per i tipi, pei caratteri, per la carta"" (Cicognara 860). Sirigatti's work is famous for being one of the very earliest thorough works solely dedicated to the art of perspective. Combining the visual language of the German book tradition of Lencker and Jamnitzer with the Italian tradition of linear perspective treated previously by Serlio and Barbaro and earlier that of Leon Battista Alberti (unillustrated), as applied to stage design and architectural theory, this is one of the seminal Italian works on the subject of perspective. Presumably this work functioned as basis for Galileo’s drawing technique. The book quickly became very popular and several Italian editions were reprinted in the 17th century"" its reputation was so long-lived that an English translation was published no less than 160 years after the original. The work is divided in two parts: The first part is dedicated to the elementary rules of perspective to plane and solid geometric figures (which also contain musical instruments like the lute (plate 41 and 42)). The second part depicts architectural elements, facades of palaces and churches, in polyhedrons of various forms and regular Platonic solids, with several references to Luca Pacioli's ""divina proportione"". Furthermore, Sirigatti famously contributed to the study of theatrical perspective: ""He is the first to mention that the full effect of the perspective frame, for instance in a stage set, can be enjoyed only by those sitting along the main axis. This is a fundamental aspect of absolutist theater that no doubt had been noticed by designers of princely entertainments earlier, but is first commented on in print by Sirigatti, whose observations were taken up more extansively by Pietro Accolti."" (Millard).Two problems were endemic in perspective designs. First, because perspective scenery exploits the difficulty of the eyes in judging the sizes and distances of objects, it works best by assigning the spectator to a single point of vision and manipulating relative magnitudes to make small images represent objects that are larger and farther away. Second, the apparent magnitude and distance of painted objects tended to clash with the fixed size of live actors when applied to the theater, threatening to produce absurd combinations of scale when performers wandered upstage. Sirigatti was first to ""acknowledge the problem of spectator position. Sirigatti proposed a way to combine a painted perspective backdrop with fixed three-dimensional scenery that diminished in size as it neared an upstage vanishing point"". (Camp, The First Frame). Sirigatti was not only influential in the theory of architecture and stage design. ""Galileo ""most certainly studied"" La pratica di prospettiva, which was published in Venice while Galileo was teaching nearbyby in Padova, and that when Galileo and Thomas Harriot simultaneously pioneered the use of the telescope to study the moon's surface, it was Galileo's training in chiaroscuro that led him to see mountains and craters where Harriot only saw ""strange spottedness""."" (The Partnership of Art and Science: The Moon of Cigoli and Galileo).Sirigatti was a member of the Academy of Drawing (Accademia del Disegno), a school for artists and engineers (where Galileo studied as a young man). Any young artist or mathematician working his way through Sirigatti and learning to create the spikes on a ring diagram such as this would master perspective and the handling of light and shadow (chiaroscuro). Each spike must cast an appropriate shadow, not unlike the patches Galileo would later discern through his ""perspective tube"" and interpret as the shadows of mountains protruding up from the surface of the Moon.Adams S-1224Cicognara 860Fowler 336Graesse VI,417 Macclesfield 1896Mortimer 479Millard 129 (the 1625-edition)
A Complete, Scientific, and Popular Treatise upon Perspective, with the Theories of Reflection and Shadows. Illustrated with Twenty-Four Plates
London Simpkin & Marshall 1836 Première édition anglaise. Jolie reliure pleine cuir verte de l'époque avec abondante décoration dorée sur le dos et les plats. Un peu frotté mais encore en bon état. Gardes marbrées. Il y a une inscription au prix de la Spitalfield School of Design de mai 1843 au papier final. Sur le deuxième papier de fin se trouve une grande inscription cadeau offrant le livre à un jeune garçon à l'occasion de son 12e anniversaire. Le reste du travail est en bon état, propre, avec un léger assombrissement / rousseur uniquement. Joli frontis gravé d'une vue en perspective de l'hôpital de Greenwich de l'autre côté de la Tamise. A 24 autres planches dépliantes montrant un total de 168 figures différentes démontrant des aspects de la perspective. 210 par 140 mm (8Œ par 5œ pouces). XIV, 152, XXIV. pp. Édition anglaise de "Essai de perspective pratique pour rectifier les compositions et dessiner d'après nature" (Paris 1828). - Le peintre français JP Thénot (1803-1857) était le plus célèbre professeur de dessin à Paris au début du 19e siècle. Son manuel « Les règles de la perspective » était également très apprécié par Paul Cézanne, comme en témoigne son exemplaire récemment découvert avec de nombreuses annotations manuscrites de Cézanne.
First English Edition. Attractive contemporary full leather green binding with profuse gilt decoration to the spine and boards. A little rubbing but still in good condition. Marbled end papers. There is a prize inscription from Spitalfield School of Design from May 1843 to the end paper. On the second end paper is a large gift inscription giving the book to a young boy on his 12th birthday. The rest of the work is in good, clean condition, with a light darkening / foxing only. Attractive engraved frontis of a perspective view of Greenwich Hospital from across the Thames. A Further 24 folding plates showing a total of 168 different figures demonstrating aspects of Perspective. 210 by 140mm (8Œ by 5œ inches). xiv, 152, XXIV. pp. English edition of "Essai de perspective pratique pour rectifier les compositions et dessiner d'après nature" (Paris 1828). - The French Painter JP Thénot (1803-1857) was the most famous drawing teacher in Paris at the beginning of the 19th century. His textbook "Les regles de la perspective " was also highly valued by Paul Cezanne, as evidenced by his recently discovered copy with numerous handwritten annotations by Cezanne. .
