Giants of Delft : Johannes Vermeer and the natural philosophers : the parallel search for knowledge during the age of discovery

In This Interdisciplinary Study Drawing On The History Of Art And The History Of Science, Robert D. Huerta Explores The Conceptual Intersections In The Work Of The Dutch Painter Johannes Vermeer And The Microscopist Antony Van Leeuwenhoek, Within The Broader Relationships Between Painting And Science During The Seventeenth Century. In A Widely Researched And Deeply Considered Book, Huerta Argues That Vermeer's Use Of The Camera Obscura And Other Instrumental Adjuncts Parallels Van Leeuwenhoek's Pursuit Of The Optical Way, And Embodies A Profound Philosophical Connection Between These Investigators. Analyzing Vermeer's Work, Huerta Shows That The Artist's Choices Were The Result Of His Personal Response To Contemporary Scientific Discoveries, And The Work Of Men Such As Van Leeuwenhoek, Christiaan Huygens, And Galileo Galilei. Furthermore, Huerta Compares Vermeer's Program Of Informed Observation To The Methods Used By Van Leeuwenhoek And Other Scientists To Accumulate And Analyze Instrument-mediated Knowledge. This Approach Enabled Vermeer To Confront The Same Issues As Natural Philosophers Regarding The Interpretation Of Unfamiliar Images Presented By Instrumental Systems.--jacket. Instrument-mediated Knowledge In The Arts And Sciences Instrumental Systems For The Imitation Of Nature And Instrument-aided Perception -- Leeuwenhoek, Galileo, Van Eyck, And Vermeer The Fruits Of Observation And Technique -- Galileo, Huygens, Leeuwenhoek, And Vermeer The Intellect As Lens -- Leeuwenhoek, Galileo, Hooke, And Vermeer The Interplay Of Text And Image -- Vermeer And Mapping The Landscape Of Reality -- Vermeer, Raphael, And Huygens The Art Of Painting And Saturn's Rings -- Conclusion: Vermeer's Philosophy Of Perception. Robert D. Huerta. Includes Bibliographical References (p. 145-150) And Index. Frontmatter List of Illustrations (page 9) Preface (page 11) Introduction (page 15) 1. Instrument-Mediated Knowledge in the Arts and Sciences (page 19) "Instrumental Systems for the Imitation of Nature" and Instrument-Aided Perception 2. Leeuwenhoek, Galileo, van Eyck, and Vermeer (page 30) The Fruits of Observation and Technique 3. Galileo, Huygens, Leeuwenhoek, and Vermeer (page 54) The Intellect as Lens 4. Leeuwenhoek, Galileo, Hooke, and Vermeer (page 72) The Interplay of Text and Image 5. Vermeer and Mapping (page 90) The Landscape of Reality 6. Vermeer, Raphael, and Huygens (page 102) The Art of Painting and Saturn's Rings Conclusion: Vermeer's Philosophy of Perception (page 120) Notes (page 125) References (page 145) Index (page 151) In this interdisciplinary study drawing from the history of art and the history of science, Huerta explores the conceptual intersections found in the work of the Dutch artist Johannes Vermeer and the microscopist Antony van Leeuwenhoek as well as the broader relationships existing between painting and science during the 17th century.