How can we tell the difference between a reflection and the real thing? How does a reflection betray its identity? Why is it that when we look at a mirror we can see either our reflection or the mirror but not both at the same time? How and when do we learn to recognise our own reflection? What does a reflective surface look like and how can we distinguish it from a non-reflective surface? Why is it that certain paintings may be turned upside down and still be visually acceptable? How are the various qualities of reflection represented in art - from the diffuse sheen of burnished copper to the realism of silvered glass?
In this innovative book, published to accompany the exhibition Mirror Image at the National Gallery, London, Jonathan Miller discusses these puzzling questions and investigates the pictorial representation of reflection - 'sheen, shine, glimmer and gleam' - through a wonderfully varied selection of paintings and photographs, covering nine centuries, drawn from the National Gallery and other international collections.
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Jonathan Miller has held appointments in the History of Medicine at the Wellcome Institute and a Leverhulme Fellowship in Cognitive Science at the University of Sussex. He has delivered the Clark Lectures at Trinity College, Cambridge and the T. S. Eliot Lectures at the University of Kent. He is an Honorary Fellow of St. John's College, Cambridge, an Honorary Doctor of Literature at the University of Cambridge and is a Fellow of the Royal College of Physicians at London and Edinburgh.
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Hardcover. Zustand: Used - Very Good. European painting has long aspired to hold a mirror to nature -- and in so doing has taken up the challenge of representing the effects of light on reflective surfaces. In this beautiful book, Jonathan Miller investigates the pictorial representation of sheen, shine, glimmer, and gleam through a wonderfully varied selection of paintings and photographs drawn from the National Gallery, London, and other international collections. Miller describes our perceptual opacity to recognize real-life mirrors as well as those in pictures, a complex psychological process of which we are usually unaware. He also traces the ambivalent imagery of mirrors from neutral aids to representing the self, as in Rembrandt's Self Portrait or Velazquez' Rokeby Venus, through metaphors of either virtues or vices in allegorical paintings -- such as Le Tournier's Allegory of Justice and Vanity and Otto Dix's Woman Before a Mirror. The extent to which a surface reflects a recognizable image varies enormously, and Miller investigates the full range, from the diffuse sheen of polished leather or burnished copper to the representational realism of silvered glass. He shows that the depiction of such variously reflective surfaces has challenged the virtuosity of artists as diverse as Rembrant and Rockwell for more than two thousand years. Very nice clean, tight copy free of any marks. Wrapped in complimentary Brodart dust jacket protector. Bestandsnummer des Verkäufers 209300
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