Samuel Y Edgerton

Datos Biográficos

ID893311
NOMBRESamuel Y Edgerton
NOMBRESSamuel Y
APELLIDOEdgerton
FIRMAEDGERTON S Y
AFILIACIONESWilliams College
VERIFICADONo
TOTAL DE OBRAS14
TOTAL DE CITAS16
TOTAL COMO AUTOR14
TOTAL COMO EDITOR0
PRIMER AÑO DE PUBLICACIÓN1979
AÑO MÁS RECIENTE DE PUBLICACIÓN2015
ÍNDICE H2

  • The Spiritual Space of Piero della Francesca’s Virgin and Child Enthroned with Four Angels

    Samuel Y Edgerton, Thomas J LoughmanARTICLEI Tatti Studies2015

  • Brunelleschi's mirror, Alberti's window, and Galileo's 'perspective tube

    Open AccessSamuel Y EdgertonARTICLEHistória Ciências Saúde-Manguinhos2006Citada por: 1Referencias: 4

    This essay argues that the advent of linear perspective, ca. 1425, when Filippo Brunelleschi painted a small panel of the Florentine Baptistery by applying the geometric rules of optical mirror reflection, was more than just an artistic event. Indeed, it subsequently had the most profound - and quite unanticipated - influence on the rise of modern science. Surely, by 1609, Galileo would not have understood what he saw when observing the moon thro…

  • Theaters of Conversion

    Enrique Rodríguez-Alegría, Enrique Rodríguez‐alegría et al.ARTICLELatin American Antiquity2003Citada por: 11

  • The Thief, the Cross and the Wheel

    Samuel Y Edgerton, Mitchell B MerbackARTICLEThe American Historical Review2000

  • The Science of Art

    Open AccessSamuel Y Edgerton, Samuel Y Edgerton Samuel Y EdgertonARTICLERenaissance Quarterly1991

    Martin Kemp. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven and London: Yale University Press, 1990. 374 pp. 16 color and 554 black-and-white illus. $60. - Volume 44 Issue 3

  • Aesthetics and Digital Image Processing

    Open AccessMichael Lynch, Samuel Y EdgertonARTICLEThe Sociological Review1987Citada por: 2Referencias: 9

    This paper examines whether 'aesthetic' considerations play a part in contemporary scientific work, and focuses on a scientific field undergoing rapid transformation through the introduction of digital imaging and image processing technologies. Interviews with astronomers at two image processing laboratories indicate that they orient explicitly to the 'aesthetic' judgments of their audiences when preparing images to promote and popularize their r…

  • Comment by Samual Y. Edgerton

    Samuel Y EdgertonARTICLELeonardo1986

  • Pictures and Punishment

    Cohn, Samuel Kline Cohn et al.ARTICLEThe American Historical Review1986

  • Pictures and Punishment

    David Herlihy, Samuel Y EdgertonARTICLEThe Journal of Interdisciplinary…1986

  • La falsa prospettiva in Italian Renaissance Architecture

    Samuel Y Edgerton, Samuel Y Edgerton Samuel Y EdgertonARTICLERenaissance Quarterly1984

  • Sandro Botticelli . Ronald Lightbown

    Samuel Y Edgerton, Samuel Y Edgerton Samuel Y EdgertonARTICLESpeculum1982

  • Colour

    Open AccessSamuel Y Edgerton, Samuel Y Edgerton Samuel Y EdgertonARTICLERenaissance Quarterly1981

    Jonas Gavel. Colour: A Study of Its Position in the Art Theory of the Quattro- and Cinquecento. (Stockholm Studies in the History of Art, 32.) Stockholm: Almqvist and Wiksell International, 1979. Distr. in U.S.A., Humanities Press. 17 illus. + 178 pp. $22.50. - Volume 34 Issue 3

  • Icons of Justice

    Samuel Y EdgertonARTICLEPast & Present1980Citada por: 1

    Journal Article ICONS OF JUSTICE Get access Samuel Y. Edgerton, Jr Samuel Y. Edgerton, Jr Boston University Search for other works by this author on: Oxford Academic Google Scholar Past & Present, Volume 89, Issue 1, November 1980, Pages 23–38, https://doi.org/10.1093/past/89.1.23 Published: 01 November 1980

  • A Little‐known ‘Purpose of Art’ in the Italian Renaissance

    Open AccessSamuel Y EdgertonARTICLEArt History1979Citada por: 1