Beschreibung:

Lo Inganno de gl'occhi, prospettiva pratica. Trattato in acconcio della pittura. Florence, Pietro Cecconcelli, 1625. Petit in-folio (303 x 217 mm) de 6 ff.n.ch., 152 pp., 2 ff.n.ch., (1 f. avec deux grands bois recto-verso, et le feuillet de registre), nombreux schémas dans le texte; vélin souple, dos lisse (reliure de l' époque). Fowler, 1; Vagnetti EIIb13; Vitry, 1. Édition originale de ce manuel de perspective pratique, essentiellement à l'usage des peintres. L'ouvrage, dédié à Carlo de Medici avec ses armoiries sur la vignette de la page du titre, est divisé en trois grands chapitres dont le dernier est exclusivement consacré au traitement de la lumière et des ombres. Le dernier chapitre contient notamment la première version imprimée du célèbre traité de Léonard intitulé Discorso intorno al disegno (pp. 144-152). Provenance: F. Baretino (note sur la garde) - Favia del Core (ex-libris). First edition of this practical manual of perspective, of special interest to painters. It also contains the first printing of Leonardo's treatise on painting, Discorso intorno al disegno (pp. 144-152). The book extensively treats all aspects of perspective including anamorphoses, light and shadow, and the camera obscura. Les origines de ma passion de collectionneur se trouvent en Italie. Au début j'étais surtout intéressé dans “l'art de la surface plate” des alentours de Sienne. Lorsque j'avais quinze ans, j'ai visité avec mes parents le Palazzo Ducale à Urbino en Toscane où la merveilleuse fresque de Piero della Francesca - La Flagellation du Christ - m'a donné une fascination permanente pour la perspective. Comment des artistes arrivent-ils à créer avec des surfaces et des lignes, avec des couleurs et des figures, avec des formes et des proportions une perspective parfaite ? De cette fascination j'ai assemblé une collection de livres de savants et d'artistes du quinzième au vingtième siècle qui se sont intéressés au secret de la perspective. J'ai été très heureux de réunir cet ensemble pendant les quarante dernières années, et j'espère que tous ces beaux livres trouveront maintenant leur place chez d'autres collectionneurs passionnés. Thomas Vroom, Holten, Novembre 2019 What is the use of perspective books ? The magnifi cent Vroom Collection of books on and related to artist's perspective, some of which were grandly illustrated and expensive, raises the question of what were they originally for. Who read them and why? The answer seems obvious. They were designed to train aspiring painters in linear perspective; that is to say in the geometrical technique of plotting on a fl at surface the relative sizes of objects behind the picture plane or “window”. This was accomplished according to an optical rule that decrees that the objects are seen from a single, fi xed viewpoint at a single moment in time. Perspective seems to allow us to become an eyewitness to what the painter sees in reality or imagination (or both). The technique of linear perspective, either via conscious construction or via standard photographic representations, is immensely powerful and compelling. It triggers very basic proclivities in how we see space, without serving as a literal record of how the eye and brain actually work in the incredibly complex and fl exible mechanisms of perception and cognition. In our modern world, it has triumphed over all other modes of representation in the popular media. It seems obvious therefore that it provides the foundation of naturalism for any artist who want to convince as that were are looking at the “real thing”, or at least a surrogate that stands in effectively for the “real thing”. However, if we search for evidence of young artists spending hours mastering the technical constructions in which the books delight or of mature artists meticulously deploying the techniques in composing their pictures, either in preparatory studies or within the fi nal painting, we will fi nd only patchy evidence. There are the causes célèbres of t