Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal
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.
Tyler, CW. 2019. “Was Leonardo da Vinci’s World Map the First to Name America? A Quincentennial Reappraisal,” Calafia Journal, 2:7-12. PDF
Earlier work by one of us examined a historical corpus of portraits and found that artists often paint the subject such that one eye is centred horizontally. If due to psychological mechanisms constraining artistic composition, this eye-centring bias should be detectable also in portraits by non-professionals. However, this finding has been questioned both on theoretical and empirical grounds. Here we tested eye-centring in a larger (N ~ = 4000) and more representative set of selfies spontaneously posted on Instagram from six world cities. In contrast with previous selfie results, the distribution of the most-centred eye position peaked almost exactly at the horizontal centre of the image and was statistically different from predictions based on realistic Monte-Carlo predictions. In addition, we observed a small but statistically reliable pseudoneglect effect as well as a preference for centring the left-eye. An eye-centring tendency appears to exist in self-portraits by non-artists.
Authors: Nicola BrunoID1*, Marco Bertamini2*, Christopher W. Tyler
PLoS ONE14(7): e0218663.
1 DiMeC, Università di Parma, Parma, Italy,
2 Department of Psychological Science, University of Liverpool, Liverpool, United Kingdom,
3 Division of Optometry and Vision Sciences, School of Health Sciences, City University of London, London, United Kingdom
* M.Bertamini@liverpool.ac.uk (MB); email@example.com (NB)
(Also see MedicalResearch.com interview here and articles)
Einstein’s Wife by David C. Cassidy
Wednesday, May 29th 7:30PM
Playroom Theater, 151 West 46th Street, 8th Floor
Mileva Marić confronts the challenges of disability and discrimination, love and fate, and her marriage to Albert Einstein. Based on actual events.
Time: Fall 1893.
Place: Zagreb, Croatia, Austro-Hungarian Empire
Continue reading “EVENT: Einstein’s Wife by David C. Cassidy”
26th-27th SEPTEMBER 2019, KING’S COLLEGE LONDON
PROPOSALS DUE 1 JULY 2019
Submit abstracts via Google Forms
This two-day interdisciplinary conference will be an important step toward building an international research network that focuses on the ways that race and biomedicine are mobilized beyond the lab in the 21st century. We seek to foreground how non-scientists are at the forefront of novel, plural, generative deployments of biomedical ideas of race that either entrench or resist historical ideas about race and its relation to biology across domains of environments, markets, and human rights.
Biomedical ideas of race have conventionally operated in two oppositional ways: notions of race as genetic or biological truth; and, conversely, accounts of health and health disparities as products of racism rather than caused by race itself. Debates about these opposing logics have never been completely cordoned off into domains of biomedical experts, but they are increasingly moving beyond the lab, and being deployed in diverse ways. Nonscientists are at the forefront of a range of deployments. On the one hand, biomedical ideas of race are being used by broader stakeholders to maintain historically entrenched ideas about race (e.g. pathologization of racialized groups to justify political repression and social service marginalization). On the other hand, biomedical ideas of race are also strategically mobilized in alternative directions, to stake claims and resist race-based injustice (e.g. identifying bodies in mass graves as racially indigenous in order to ground genocide claims in international courts).
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Apr. 26–Jun. 7, 2019
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.
Continue reading “EXHIBITION: Mana BSMT Presents: N. M. Brandreth’s Phantasmagoria’s Seeing Shadows”
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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Presented by the Center for the History of Collecting, Frick Art Reference Library, The Frick Collection, NY
Thursday, May 23, 2019, 2 – 7 p.m.
More information: https://www.frick.org/research/center/symposia
This half-day symposium focuses on collecting site-specific, large-scale, and light-based works by artists including, among others, Walter de Maria, Nancy Holt, Robert Smithson, Michelle Stuart, and James Turrell. A panel of scholars, curators, collectors, an artist, and a conservator explores related challenges of installation, maintenance, preservation, and ultimate stewardship. Virginia Dwan, Suzaan Boettger, Jarl Mohn, Jessica Morgan, Leonard Riggio, and Michelle Stuart are among the participants. Sponsorship from the Robert H. Smith Family Foundation and Northern Trust has made this event possible.
Continue reading “SYMPOSIUM: Collecting the “Uncollectible”: Earth and Site-Specific Sculpture”