- Hardcover: 218 pages
- Publisher: OUP Oxford; First Edition edition (23 Nov 2000)
- Language English
- ISBN-10: 0198564767
- ISBN-13: 978-0198564768
- Product Dimensions: 24.8 x 19.2 x 2.2 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
- Amazon Bestsellers Rank: 854,696 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Product Description
Martin Kemp is the author of the widely acclaimed weekly pages "Art and Science" and "Science and Image" which have been appearing in Nature since 1997. In this visually stunning book, he brings together these fascinating articles discussing the interactions between the visual arts and science. A lively introduction describes Kemp's novel approach to the subject. Instead of describing the influence of art on science or vice-versa he emphasises the structural intuitions shared by artists and scientists. In over 75 articles, each accompanied by one or more full colour images, a wide range of art and science are covered; from Leonardo's Mona Lisa to Robert Hooke's stunning image of the eye of a fly in a microscope, and from abstract mathematics to the illustrative modes the horror movie and commercial logos. The study of the relationship between the visual worlds of the artist and the scientist is placed on a new basis. The result is a unique and fascinating book which will be of great interest to artists and scientists alike.
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Hardcover
Martin Kemp is Professor of the History of Art at Oxford University, and writes extensively on imagery in art and science. This book is a compilation of his columns from Nature, for which he's been writing since 1997. The articles range over a wide variety of topics, from Galileo's sketches of light and shade on the moon, through the modelling of scenes in Vermeer's paintings, to Hooke's description of the eye of the housefly and the naturalistic sculptures of Andy Goldsworthy. Working to a 500-600 word limit in each piece, the author briefly sets the scene before describing a specific image and drawing out some general points from his analysis and, in some cases, making connections with images discussed in other articles.
I greatly enjoyed this book, coming to it from a strong - even professional - interest in visualization, and having a vague idea about how it can act as a conduit between ideas and explanation in art and science. The author examines this in some depth, drawing on a large set of examples from different points in history and which use scales from the cosmic to the microscopic. I finished this book with a renewed appreciation of the power of visualization (and even learnt a new word - bucephadonically apparently means using S-shaped motion). The author also draws together some general points nicely in some specially-written material to bookend the articles, with some illuminating and erudite musings on the aesthetic impulse. The only slight criticism I had of the book was that I found the articles' alliterative titles too tiresome (e.g. "Lucid looking", "Maculate moons", "Abbott's absolutes", etc). But I soon developed the knack of not reading them.
I greatly enjoyed this book, coming to it from a strong - even professional - interest in visualization, and having a vague idea about how it can act as a conduit between ideas and explanation in art and science. The author examines this in some depth, drawing on a large set of examples from different points in history and which use scales from the cosmic to the microscopic. I finished this book with a renewed appreciation of the power of visualization (and even learnt a new word - bucephadonically apparently means using S-shaped motion). The author also draws together some general points nicely in some specially-written material to bookend the articles, with some illuminating and erudite musings on the aesthetic impulse. The only slight criticism I had of the book was that I found the articles' alliterative titles too tiresome (e.g. "Lucid looking", "Maculate moons", "Abbott's absolutes", etc). But I soon developed the knack of not reading them.
Format:Hardcover
Science is domimated by what Margalef called "numerophiles". This is a great book that shows the value of being open minded and observational in our approaches to investigating the world. It is beautifully written and illustrated. The book highlights that fact that divide between art and science is often somewhat artificial and is really a modern construct.
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