Christopher Tyler discusses three books published by Diatrope Press

Complete Illustrated Edition of the Life of Leonardo da Vinci, from Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari.. Edited with complete illustrations and annotations by Christopher W. Tyler. Color illustrations throughout. This is the only edition of Vasari’s Life of da Vinci that illustrates every single painting and sculpture mentioned by Vasari. Translated by Gaston du C. De Vere (The Medici Society/Macmillan: London, 1912-1915).

Portraits of his Daughters by Thomas Gainsborough commemorates two delightful sisters painted by their father, the famous 18th century English painter Thomas Gainsborough (1727-1788). The daughters are buried together at St Mary’s Church, Hanwell. In 1809, the rector of the Church, George Henry Glass, built the Hanwell cottage where a fountain inscribed in memory of two sisters makes an interesting link with the Gainsborough daughters. Illustrations on every page.

Parallel Alices: Alice through the Looking Glass of Eleanor of Aquitaine. New insights into historical roots of Alice in Wonderland. Examines the historical lines of the Alice books by Lewis Carroll through the historical sources at the time of Eleanor of Aquitaine. 170p. 6×9″ inches. Includes timelines, glossary, bibliography.

Book Review of The Seductions of Darwin: Art, Evolution, Neuroscience by Mathew Rampley

Reviewed by Amy Ione, May 2020

It is not surprising that Mathew Rampley’s book, The Seductions of Darwin: Art, Evolution, Neuroscience, caught my eye since the volume touches on a number of topics covered in my own Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle. [1] What did surprise me is that, despite analyzing many of the same subjects (cave painting, evolutionary psychology, art history, neuroaesthetics, neuroarthistory, etc.), the two books are worlds apart, even as we share similar goals. Both of us state that we seek to encourage humanistic thinking and voice reservations about the scientific and philosophical research surrounding art, neuroscience, and evolution. Yet, while I agree with Rampley’s premise that efforts to construct a “unity of knowledge” theory are misconceived, I found that his book read like a polemic, with arguments more along the lines of “not this, not that” than a humanistic probing of the contours of art, evolution, and neuroscience. This reaction is one the author himself acknowledges as possible, writing: “[m]uch of the discussion will come across as polemical in tone” (p. viii) and “[i]t would be reasonable to conclude, given the polemical tone adopted in this book, that I see neo-Darwinian approaches as having little value” (p. 140). Thus, my principal take-away was a humanistic-type question: Why is it that two people who review much of the same range of information can come away worlds apart? He is clear that, “It might be objected that I am relying on a reductive and overly empirical notion of inquiry, one based on the testing of hypotheses, and that this approach is particularly problematic when applied to the humanities” (p. 139); consistent with this statement, I take a more dialogical humanistic type of approach to the issues.

The Seductions of Darwin itself consists of an informative introduction, four chapters, and a conclusion. The bulk of the book outlines what Rampley sees as persistent weaknesses in theories of art that assume (presume) a Darwinian or neuroscientific perspective. What was most prominent within this is that he is looking for a unifying explanatory methodology (despite his claim that efforts to construct “unity of knowledge” theories are flawed). This paradoxical strategy lands him in a space that largely mirrors the theoretical problems inherent in the arguments he rejects.

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Was Kandinsky a Synaesthete?

Take a look at  Dyedra K. C. Just‘s paper “Was Kandinsky a Synaesthete? Examining His Writings and Other Evidence,” which examines a subject also examined by Amy Ione and Christopher Tyler  in their paper “Was Kandinsky a Synesthete?
Below is the abstract for the D. K. C. Just paper:

Wassily Kandinsky is widely regarded as one of the most prominent examples of a synaesthetic artist. However, in the scientific literature there is disagreement on the genuineness of his synaesthesia. This paper investigates whether Kandinsky had inborn synaesthesia, while acknowledging that there are also types of induced synaesthesia which he may have cultivated. As these two types of synaesthesia are seen to work additively in some synaesthetes and not to be mutually exclusive, this is not seen as an argument against the view that he was a true inborn synaesthete. Whether Kandinsky was a synaesthete is examined through a detailed study of his primary writings (e.g., On the Spiritual in Art, Point and Line to Plane, and Reminiscences), in light of the modern diagnostic criteria. The experiences described in those writings indicate that his synaesthetic perceptions were genuine and inborn and not just a theoretical endeavour. Given the genetic dimension of synaesthesia, this view is further supported by the fact that Kandinsky’s uncle Victor Kandinsky also described having synaesthetic experiences.

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Amy Ione Exhibiting at the Sebastopol Center for the Arts

Painting: The Relativity Room #2WINDOWS AND DOORS

February 22 – March 29, 2020
Opening reception February 22, 1-4 PM

This exhibition presents a wide array of interpretations of “windows” and/or “doors”, symbolically or figuratively.

A virtual tour of Windows and Doors Art Exhibition in the Main Gallery at Sebastopol Center for The Arts, Sebastopol, California. Feb-March 2020. (no audio).

Sebastopol Center for the Arts

Soul of a Nation: Art in the Age of Black Power Reviewed by Amy Ione

Book cover. Soul of a NationReview:
Mark Godfrey, Zoé Whitley, Curators

de Young Museum, San Francisco, 9 Nov. 2019-8 Mar. 2020
Exhibition organized by Tate Modern
Catalog by D.A.P./Tate; 2017, 256 pp., ISBN: 978-1942884170.

In balancing a range of art practices with socio-political realities, Soul of a Nation: Art in the Age of Black Power 1963-1983 effectively demonstrates that there isn’t a Black art per se but rather a Black experience that informs what, how, and where Black artists present and re-present. The project also superbly presents the rich contributions of African American artists are an important and integral part of American Art, despite their often being underrepresented in art histories. While the catalog expands one’s understanding of the exhibition immeasurably, I was glad to have the opportunity to engage with the actual size works so as to optimally experience the interweaving of artistic insights and materials with concepts like Black Power, Black Pride and the array of social realities that informed the work (e.g., the Watts riots) [1]. Still, the catalog is invaluable. Reading curator Mark Godfrey’s essay on Black abstraction in the publication before visiting the exhibition primed me to see the socio-political elements through the eyes of individual artists musing about material objects and black identify in tandem. In essence, his essay, co-curator Zoé Whitley’s essay, and the recollections from a number of people associated with this art in the documentation, all of whom were black participants, further underscored that there is a black American culture to celebrate, one that has thrived despite its peripheral place within institutions. Furthermore, the written material demonstrate the value of critically engaging with objects on a number of levels.

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RIP: Jonathan Miller (1934-2019)

Jonathan Miller (1934-2019) was an English theatre and opera director, actor, author, television presenter, humorist and medical doctor. After training in medicine and specializing in neurology in the late 1950s, he came to prominence in the early 1960s in the comedy revue Beyond the Fringe with Peter Cook, Dudley Moore and Alan Bennett. He died 27 November 2019 at the age of 85. Obituary here.

At the age of 12, at the St. Paul’s School, his lifelong friendship with Dr. Oliver Sacks began. Indeed, the neurologist’s journey to international fame began when Mr. Miller showed the original manuscript of Dr. Sacks’s book “Awakenings” to a London publisher.

Another noteworthy interdisciplinary project was in 1983 with “States of Mind.” He interviewed the art historian Ernst Gombrich, the philosopher and scientist Daniel Dennett and others about consciousness and the brain.

In 1978 he presented “The Body in Question,” a 13-part BBC series about human biology during which he performed an autopsy on a dead vagrant. The book from that series, The Body in Question, is available here.

Now Online: Was Leonardo da Vinci’s World Map the First to Name America?

Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal

Leonardo da Vinci’s World Map, image

Abstract
In addition to his better known artistic, scientific and engineering talents, Leonardo da Vinci has an extensive reputation as a cartographer, drawing maps for a wide range of hydro-engineering projects for the rulers of Florence, Milan, Arezzo and the Vatican, amongst others. However, he is not generally acknowledged as authoring a world map (or mappamundi) spanning the globe, which was the domain of a few specialized cartographers of the era. Nevertheless, there is a world map among his papers in the Royal Library, Windsor, which has the correct overall configuration of the continents, including an ocean at the north pole and a continent at the south pole. Moreover, it has a unique cartographic projection onto eight spherical-geometry triangles that provide close to isometric projection throughout the globe.

This quincentennial anniversary year of his death in 1519 is an appropriate moment for a reappraisal of this contribution to global cartography. Although the authenticity of this world map has been questioned, there is an obscure page of his notebooks in the Codex Atlanticus containing a sketch of this precise form of global projection, tying him securely to its genesis. Moreover, the same notebook page contains sketches of eight other global projections known at that time (early C16th), from the Roman Ptolomaic conic section projection to Rossellli’s (1508) oval planispheric projection. This paper reassesses the dating of Da Vinci’s unique mappamundi to suggest that it predates that of Waldseemüller (1507), and may thus have been the first map to name both America and Florida.

Citation:
Tyler, CW. 2019. “Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal,” Calafia Journal, 2:7-12. PDF

Lecture: Was Leonardo da Vinci’s World Map the First to Name America?

Was Leonardo da Vinci’s World Map the First to Name America?

by: Christopher W. Tyler, Ph.D., D.Sc.  –  Saturday Sept 28 @ 3:00 PM

Christopher Tyler’s scientific interests are in visual perception and visual neuroscience. With regards to Leonardo da Vinci, Tyler’s interests extend from his youthful activities as an extempore singer and artist’s model in Florence to his architectural and anamorphic influences in the Court of Renaissance France.

image+%281%29.jpgIn addition to his better known artistic, scientific and engineering talents, Leonardo da Vinci has an extensive reputation as a cartographer, drawing maps for a wide range of hydro-engineering projects for the rulers of Florence, Milan, Arezzo and the Vatican, amongst others. However, he is not generally acknowledged as authoring a world map (or mappamundi) spanning the globe, which was the domain of a few specialized cartographers of the era. Nevertheless, there is a world map among his papers in the Royal Library, Windsor, which has the correct overall configuration of the continents, including an ocean at the north pole and a continent at the south pole. Moreover, it has a unique cartographic projection onto eight spherical-geometry triangles that provide close to isometric projection throughout the globe.

This quincentennial anniversary year of his death in 1519 is an appropriate moment for a reappraisal of this contribution to global cartography. Although the authenticity of this world map has been questioned, there is an obscure page of his notebooks in the Codex Atlanticus containing a sketch of this precise form of global projection, tying him securely to its genesis. Moreover, the same notebook page contains sketches of eight other global projections known at that time (early C16th), from the Roman Ptolemaic conic section projection to Rosselli’s (1508) oval planispheric projection. This paper reassesses the dating of Da Vinci’s unique mappamundi to suggest that it predates that of Waldseemüller (1507), and may thus have been the first map in history to name both America and Florida.

EXHIBITION: Mana BSMT Presents: N. M. Brandreth’s Phantasmagoria’s Seeing Shadows

Apr. 26–Jun. 7, 2019
MORE INFORMATION

Have you ever glimpsed a movement out of the corner of your eye and turned to find nothing there? Have you ever bolted up the basement steps convinced that something was down there with you? Seeing Shadows attempts to visualize these sensations as photographic objects. Derived from Brandreth’s love for horror and the macabre, and from the histories of photography and film, these unique handmade works are at once seductive and utterly uncanny.

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PANEL AND EXHIBITION: Watercolor Rediscovered: Whistler in the Nineteenth Century

Watercolor Rediscovered: Whistler in the Nineteenth Century
Exhibition: May 18, 2019–October 6, 2019
Freer Gallery of Art, galleries 10 and 11

James McNeill Whistler reinvented himself as an artist in the 1880s and painted his way into posterity with the help of watercolor. Beginning in 1881, he created a profusion of small, marketable works over the next fifteen years. “I have done delightful things,” he confided, “and have a wonderful game to play.” For Whistler, the word “game” referred to the watercolors themselves and to his plans for selling them.

Museum founder Charles Lang Freer amassed the world’s largest collection of Whistler’s watercolors, with more than fifty seascapes, nocturnes, interior views, and street scenes. His vast collection also included prints, drawings, pastels, and oil paintings by the artist. Due to Freer’s will, these works have never left the museum, and the fragile watercolors have rarely been displayed. Recent research conducted by museum curators, scientists, and conservators now shines new light on Whistler’s materials, techniques, and artistic genius, as seen in this first major exhibition of his watercolors at the Freer Gallery since the 1930s.

In conjunction with the opening of Whistler in Watercolor, explore the development of watercolor in the Victorian era and James McNeill Whistler’s contributions to the genre at an event on Sunday, May 19, 2019, 2pm.
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