Esthetics and Mathematics

1927 ◽  
Vol 20 (8) ◽  
pp. 419-428
Author(s):  
David Eugene Smith

In considering mathematics in relation to the beautiful, the range of possibility is so vast that a brief article like this can hardly be expected even to list the salient points of contact. The field might properly include all that we designate as the fine arts or, to use the more expressive phrase of the French, the beaux arts. Painting, for example, might be considered with reference to the works of that great genius in science, in mathematics, and in art—Leonardo da Vinci. Sculpture might equally well be included because of the mathematical principles employed by that majestic user of ponderous masses, Michelangelo. Architecture might have place with reference to the works of that Oxford professor of mathematics, Sir Christopher Wren, who rebuilt ecclesiastical London; engraving, with reference to that gifted artist of Niirnberg, Albrecht Diirer, who published the first modern work on curves; music, with reference to the fact that it always ranked as a branch of mathematics until the sixteenth century; decoration, with reference to the geometric designs found in all ages and reaching their highest degree of perfection in the works of the Moslems; and literature, with reference to the mathematics of poetry, and the poetry of mathematics. Indeed, we might properly include the beauties of nature, where mathematics plays a part of which we are usually quite unconscious.

2021 ◽  
pp. 6-33
Author(s):  
Elisabeth Ervin-Blankenheim

This chapter and the next one cover the way in which geology came to be a science in its own right, spanning the early centuries of geology. Lives of crucial individual scientists from the sixteenth century to the beginning of the twentieth century are discussed by relating the stories and discoveries of each, commencing with Leonardo da Vinci and continuing with the European geologists, including Nicholaus Steno, Abraham Werner, James Hutton, Charles Lyell, and early fossilists such as Etheldred Benet. Steno, Werner, Hutton and Lyell, and other early geologists revealed and wrote about the basic principles of geology, painstakingly untangling and piecing together the threads of the Earth’s vast history. They made sense of jumbled sequences of rocks, which had undergone dramatic changes since they were formed, and discerned the significance of fossils, found in environments seemingly incongruous to where the creatures once lived, as ancient forms of life. They set the stage for further research on the nature of the Earth and life on it, providing subsequent generations of geologists and those who study the Earth the basis on which to refine and flesh out the biography of the Earth.


1990 ◽  
Vol 43 (1) ◽  
pp. 43-98
Author(s):  
H. Colin Slim

An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknown, that of the latter is Josquin Desprez. The work is Josquin's celebrated proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. Musical aspects of Dosso's complex allegory reside not only in the relationships of the two canons on the right side of the picture to three hammers belonging to a blacksmith on the left side, but also in the tablets of stone on which the canons are inscribed. A brief notice of the changing relationships between music and painting at this period sets the stage for a more thorough examination of statements by Leonardo da Vinci concerning both arts, statements that help provide a conceptual framework for Dosso's allegory of music.


2020 ◽  
Vol 14 (3) ◽  
pp. 400-410
Author(s):  
N. A. Makatsariya

The article highlights aspects of the topic a mother and a child in fine arts of the Renaissance. Paintings by Dutch artists Robert Campen and Jan Van Eyck, Italian paintings by Leonardo da Vinci, Michelangelo, Sandro Botticelli, Raphael, as well as paintings by Diego de Silva y Velazquez, Peter Paul Rubens and Rembrandt are presented.


Author(s):  
Tina Sherwell

Laila Shawa was born in Gaza in 1940. Between 1957 and 1958, she travelled to Cairo to study art at the Leonardo da Vinci Art Institute. She then pursued her studies in Fine Arts in Rome at the Accademia San Giacomo, University of Rome, receiving her BA in 1960. In her summers, she would travel to participate in the School of Seeing, studying under the famous expressionist artist Oscar Kokoschka in Salzburg, Austria. After the 1967 war, she moved to Beirut, which was a cultural hub for many Palestinians, where she lived and worked until 1975. Thereafter she lived between Gaza and the UK until 1988 and then permanently in the UK. Shawa’s work spans different media: painting, photography, printing, sculpture, and video works, offering sociopolitical critiques of her subject matter that predominantly relates to the Palestinian and Middle East contexts over the decades. Her series "Women and the Veil" of the late 1980s explored the contractions inherent in practices of Arab society, particularly, critiquing consumerism and blind faith in doctrines. She critiques these contexts through playfulness and satire, such as in The Impossible Dream (1988), while in her series of paintings The Hands of Fatima she explored the practices of magic in Arab societies. The paintings dissolve perspectival space into a kaleidoscope of colors, patterns, and rituals.


Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.


1910 ◽  
Vol 69 (1782supp) ◽  
pp. 138-140
Author(s):  
Edward P. Buffet
Keyword(s):  
Da Vinci ◽  

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