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Optics is the branch of physics that studies the behaviour and properties of light, including its He rejected the "emission theory" of Ptolemaic optics with its rays being emitted by the eye, and instead put forward the idea that light reflected in all.
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Hockney suggests, knew the magic of photographic projection. They saw how good these devices were at projecting a three-dimensional world onto a two-dimensional surface. And they just could not resist. That was the case that Mr. A line of people waited outside to come in. Lawrence Weschler, the writer who first publicized Mr.

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Hockey's theory in The New Yorker, presided. He used his crutch not for his pulled leg muscle, but to gavel the audience to order. Hockney and Mr. Falco first presented their case in a minute documentary film. In it they gave no documentary evidence of optical instruments. Instead they showed how the paintings gave themselves away.

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The suspect paintings, they showed, are too correct and too natural to have been ''eyeballed'' or drawn freehand. The armor, eyes, lutes and clothes in them look too real; the expressions appear too fleeting. But these paintings are also too incorrect. They have parts that are out of focus, like photographs.

Or they have multiple vanishing points and parts that do not quite fit together, telltale signs that the artist focused and refocused his lens to capture different parts of his picture. Or they have a preponderance of left-handed drinkers, suggesting that a reversing lens was used. Some actually contain depictions of optical devices. Van Eyck's ''Arnolfini Wedding,'' for example, shows a convex mirror whose concave side might have acted as a lens that projected an image onto a flat surface.

Hockney is not accusing any artist of cheating. The point is that artists encountered them much earlier than anyone thought. Hockney said. He suggested that a direct line led from van Eyck's obsession with projected images to television's conquest of the world. If art historians had bothered to learn optics, Mr.

Falco added, they would have known it all decades ago. Art historians did not take this lying down. Hockney testifying that he had gone out and bought a concave mirror at Duane Reade. His verdict?

The Theory of Light: A Treatise on Physical Optics

The projection the mirror threw onto his paper wasn't clear enough for him to make a decent drawing. Besides, he added, there is plenty of evidence that artists like Michelangelo, Raphael and Caravaggio had ''no need for fuzzy, upside-down images. Susan Sontag went after Mr. Hockney's ideology of picture making. To say that there were no great painters before optical devices, she said, is like saying there were no great lovers before Viagra. It is a ''very American'' kind of argument. Although Mr. Hockney was born British, she said, in his thinking ''he is one of us. It represents the ''Warholization of art.

At her signal an audience member brought Ms. Nochlin's wedding dress onstage, a white shift with blue doughnut shapes on it. As evidence that artists can draw patterned cloth without the aid of optics, she compared the dress to a wedding portrait that Philip Pearlstein, ''an eyeballer par excellence,'' had made of her sitting in that dress while her husband slouched next to her in white pants.

Then the gloves really came off. David Stork, an associate professor of computer science at Stanford University, considered the little convex mirror in van Eyck's Arnolfini wedding picture, the mirror that, Mr. Hockney suggests, van Eyck could have flipped over and used as an optical device.

First off, Mr. Stork said, a mirror of that size would never have worked. To get a lens that would ''hold Arnolfini, his wife and dog,'' he would have needed a huge mirror, sliced from a sphere seven feet in diameter. And that is just the beginning of the trouble. If van Eyck had used the lens in a camera obscura, he would have had to paint upside-down, Mr.

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Stork said. Then there is the lighting problem: the projected image in a camera obscura would have been too dim. Ellen Winner, a professor of psychology at Boston College, kept Mr. Hockney on the ropes by showing some excellent, optically exact drawings of rearing horses. They were made by a 5-year-old autistic child named Nadia, who had seen only pictures of horses standing still. If an autistic 5-year-old can do this, Ms.

Winner said, then ''I would argue that a Renaissance artist could do it, too. Easily read eBooks on smart phones, computers, or any eBook readers, including Kindle. When you read an eBook on VitalSource Bookshelf, enjoy such features as: Access online or offline, on mobile or desktop devices Bookmarks, highlights and notes sync across all your devices Smart study tools such as note sharing and subscription, review mode, and Microsoft OneNote integration Search and navigate content across your entire Bookshelf library Interactive notebook and read-aloud functionality Look up additional information online by highlighting a word or phrase.

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Institutional Subscription. Free Shipping Free global shipping No minimum order. Preface Translator's Note Introduction 1.


  • The Theory of Optics (Dover Phoenix Editions).
  • For Your Safety Please Hold On.
  • Translation:On an Experiment on the Optics of Moving Bodies.

Geometrical, Physical, and Physiological Optics. Historical Chart Chapter I. Reflection and Refraction of Light 2. Review of Electrodynamics. Basic Principles of Ideal and Natural Light 3. Fresnel's Formula. Transitions from Rarer to Denser Media A. Artificial Suppression of Reflection for Perpendicular Incidence 4.

Graphical Discussion of Fresnel's Formula.


  1. The Fruit Files: Can You Spot the Clues to How These Fruits Feel?.
  2. Syllabuses (Majors, Minors & Courses).
  3. Books on Optics.
  4. Basic Optics and Optical Instruments?

    5. Brewster's Law A. Practical Production of Polarized Light D. Energy Considerations. Reflecting Power r and Transmissivity d 5. Total Reflection A. Discussion of Fresnel's Formula B. Light Penetrating into the Rarer Medium C. Production of Elliptically and Circularly Polarized Light 6. Metallic Reflection A. Fresnel's Formula B. Experiments by Hagen and Rubens C. The General Case B. Coated Non-Reflecting Lenses D. Soap Bubbles and Newton's Rings E. The Lummer-Gehrke Plate G. The Interferometer of Perot and Fabry About 8.