Add this copy of The Science of Art: Optical Themes in Western Art From to cart. $50.00, good condition, Sold by Turgid Tomes rated 5.0 out of 5 stars, ships from Nashville, TN, UNITED STATES, published 1990 by Yale University Press.
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Good. Size: 11x10x1; Yale University Press, 1990. Hard cover, first edition. Ex-library copy with the usual markings, otherwise Good condition. Lacks the dust jacket.
Add this copy of The Science of Art: Optical Themes in Western Art From to cart. $106.31, very good condition, Sold by Halcyon Books rated 4.0 out of 5 stars, ships from LONDON, LONDON, UNITED KINGDOM, published 1990 by Yale University Press.
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Very good in very good dust jacket. Clean tight illustrated hardcover in jacket. Very good book in a very good dust jacket. ALL ITEMS ARE SENT BY ROYAL MAIL.
Add this copy of The Science of Art: Optical Themes in Western Art From to cart. $121.04, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 1990 by Yale University Press.
Add this copy of The Science of Art: Optical Themes in Western Art From to cart. $125.00, like new condition, Sold by J. Hood, Booksellers, Inc. rated 5.0 out of 5 stars, ships from Baldwin City, KS, UNITED STATES, published 1990 by Yale University Press.
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Near new condition, covers bright, text clean and binding tight in a bright and crisp dust jacket which is now in a clear protective mylar sleeve. Size: 10.25"x11.5", 375pp., 16 colour plates, 553 b&w illus.
Add this copy of The Science of Art: Optical Themes in Western Art From to cart. $2,470.00, new condition, Sold by BWS Bks rated 5.0 out of 5 stars, ships from Ferndale, NY, UNITED STATES, published 1990 by Yale Univ Pr.
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New. 0300043376. *** FREE UPGRADE to Courier/Priority Shipping Upon Request *** – – *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-Flawless copy, brand new, pristine, never opened-375 pages. From Library Journal: "This work, one of the most lucidly written art history books in recent memory, addresses a topic of inherent complexity and great recent interest. Kemp (Univ. Of St. Andrews), who has written on Leonardo, discusses perspective and optic theories as they related to the central problem of European painting for half a millennium, the verisimilar depiction of nature. The first part of the book discusses perspective theory and practice and the use of devices that led toward photography. In the second part, Kemp explores optic theories derived from Aristotle and from Newton and their theoretical and practical impacts on painting. The only minor cavil is the unclear order of the select bibliography; otherwise, this is a superb and thoughtful book, with a level of writing to which few can aspire. Highly recommended for general as well as special collections. "--with a bonus offer--