Re-Reading Leonardo : The Treatise on Painting across Europe, 1550–1900 (Hardcover)

Contents: Introduction: the historical reception of Leonardo da Vinci's abridged Treatise on Painting, Claire Farago. Section 1 The Italian Reception: What might Leonardo's own Trattato have looked like? And what did it actually look like up to the time of the editio princeps?, Martin Kemp and Juliana Barone; Leonardo and the Florentine Academy, Robert Williams; Who abridged Leonardo da Vinci's Treatise on Painting?, Claire Farago; On the movement of figures in some early apographs of the abridged Trattato, Michael Cole; Zaccolini and the Trattato della Pittura of Leonardo da Vinci, Janis C. Bell; The first Italian publication of the Treatise on Painting: book culture, the history of art, and the Naples edition of 1733, Thomas Willette. Section 2 The French Reception: The Vita of Leonardo da Vinci in the Du Fresne edition of 1651, Catherine M. Soussloff; Poussin as engineer of the human figure: the illustrations for Leonardo's Trattato, Juliana Barone; 'A chaos of intelligence': Leonardo's Traite and the perspective wars at the Academie Royale, Martin Kemp; Perspective and the Paris Academy, J.V. Field; Leonardo's theory of aerial perspective in the writings of Andre Felibien and the paintings of Nicolas Poussin, Pauline Maguire Robison; Between academicism and its critics: Leonardo da Vinci's Traite de la Peinture and 18th-century French art theory, Thomas Kirchner. Section 3 The Spanish Reception: The Trattato in 17th- and 18th-century Spanish perspective and art theory, Javier Navarro de Zuvillaga; Pacheco, VelA¡zquez, and the legacy of Leonardo in Spain, Charlene VillaseA±or Black. Section 4 The Dutch, German and Flemish Reception: The reception of Leonardo da Vinci's Trattato della Pittura or Traite de la Peinture in 17th-century Northern Europe, Michele-Caroline Heck; 'This art embraces all visible things in its domain': Samuel van Hoogstraaten and the Trattato della Pittura, Thijs Weststeijn; Rubens and Leonardo on motion: figures, inscriptions, and te