ALBERTI Leon Battista.
Of pictura.
Allia
Regular price
€10,00
| N° d'inventaire | 26282 |
| Format | 17 x 22 |
| Détails | 94 p., black and white illustrations, paperback with flaps. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9791030410778 |
There are several versions of De pictura . First written in Tuscan in 1435, Alberti revised and improved it between 1439 and 1441 when he translated it into Latin. It is this version, the most complete, that we present here, accompanied by a critical apparatus and an iconography that do justice to this treatise, which for more than five centuries has been a major reference in aesthetic reflection.
With De pictura , Alberti formulated, ordered and explained, in a theoretical and communicable language, a large number of fundamental data in painting, opening a new era both for the definition of beauty and the place of artists within the city. His treatise, which introduces the rationalist spirit into aesthetics, marks the end of the strictly religious era. But, while explaining how beauty responds to certain very precise laws, Alberti never loses sight of the fact that the purpose of painting is above all individual delight.
With De pictura , Alberti formulated, ordered and explained, in a theoretical and communicable language, a large number of fundamental data in painting, opening a new era both for the definition of beauty and the place of artists within the city. His treatise, which introduces the rationalist spirit into aesthetics, marks the end of the strictly religious era. But, while explaining how beauty responds to certain very precise laws, Alberti never loses sight of the fact that the purpose of painting is above all individual delight.
With De pictura , Alberti formulated, ordered and explained, in a theoretical and communicable language, a large number of fundamental data in painting, opening a new era both for the definition of beauty and the place of artists within the city. His treatise, which introduces the rationalist spirit into aesthetics, marks the end of the strictly religious era. But, while explaining how beauty responds to certain very precise laws, Alberti never loses sight of the fact that the purpose of painting is above all individual delight.