From Symbolic to Iconic Signs

Leonardo da Vinci’s (1452-1519) drawing of the psychophysical question exemplifies a transition from symbolic to iconic signs, which generates new knowledge. In these drawings Leonardo tries to explain how mind and body function together. In 1487, in the Royal Library MSS 12626r and 12627r, he illustrated schematic cross sections of the head and mapped mentalContinue reading “From Symbolic to Iconic Signs”

Place in Image Captions III

But… ethically, if we think about the caption more as part of the book than as an element that accompanies the artwork, the historian has a say. For example, the caption of Fig. 181 in Burckhardt’s Civilization raises interesting questions about the responsibility of the historian, editor and publisher for updating locations of artworks thatContinue reading “Place in Image Captions III”

Place in Image Captions II

In my last post, I suggested to indicate in captions “any location that contributes to the meaning of the work” when the artwork has no body. Upon reflection I realize that it’s problematic and, unfortunately, I have to disagree. Artworks do not begin and end with a place in which their materiality and physicality settle.Continue reading “Place in Image Captions II”

Crossing Disciplines is Studying What Is

Between March 14-16, the Centre for Reformation and Renaissance Studies hosted its Distinguished Visiting Scholar Prof. Pamela H. Smith (Columbia University). During her visit Prof. Smith gave two talks: “Historians in the Laboratory: Art and Science in Early Modern Europe” and “Transforming Matter and Making Art in a Sixteenth-Century Workshop,” as well as two lab-workshopsContinue reading “Crossing Disciplines is Studying What Is”