06809nam 2201969 450 991079062900332120230803022045.01-4008-4974-810.1515/9781400849741(CKB)2550000001136167(EBL)1441376(SSID)ssj0001048107(PQKBManifestationID)11597141(PQKBTitleCode)TC0001048107(PQKBWorkID)10997232(PQKB)11424676(MiAaPQ)EBC1441376(OCoLC)865565759(MdBmJHUP)muse43361(DE-B1597)453973(OCoLC)979579884(DE-B1597)9781400849741(Au-PeEL)EBL1441376(CaPaEBR)ebr10783692(CaONFJC)MIL535870(OCoLC)867925826(EXLCZ)99255000000113616720130709h20132013 uy| 0engur|n|---|||||txtccrInventing falsehood, making truth Vico and Neapolitan painting /Malcolm BullCourse BookPrinceton, New Jersey :Princeton University Press,[2013]©20131 online resource (161 p.)Essays in the ArtsEssays in the artsDescription based upon print version of record.0-691-13884-2 1-306-04619-X Includes bibliographical references and index.Frontmatter -- Contents -- Acknowledgments -- Prologue -- One. Vico -- Two. Icastic Painting -- Three. Fantastic Painting -- Four. Theological Painting -- Epilogue -- Notes -- Index"Can painting transform philosophy? In Inventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy.Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history, The New Science. Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed"--Provided by publisher.Essays in the ArtsPaintingPhilosophyArt and philosophyItalyHistory18th centuryPainting, ItalianItalyNaples18th centuryPainting, BaroqueItalyNaplesTruthAesthetics.Analogy.Andrea Vaccaro.Andrea del Sarto.Anecdote.Annibale Carracci.Anthropomorphism.Atheism.Atomism.Augury.Bad Painting.Baroque painting.Caravaggio.Caravaggisti.Carlo Maratta.Cartesianism.Catherine of Siena.Certainty.Certosa di San Martino.Chiaroscuro.Cimabue.Classical mythology.Classicism.Consciousness.Cubism.Daniello Bartoli.Democritus.Depiction.Divine Truth.Divine judgment.Divine providence.Domenichino.Drapery.Epicurus.Exorcism.Fall of Simon Magus (Pompeo Batoni).Falsity.Flagellation of Christ.Francesco Solimena.Giambattista Vico.Giotto.God the Father.Guido Reni.Henri Bergson.Iconoclasm.Iconography.Illustration.Jules Michelet.Las Meninas.Libri Carolini.Lodovico Dolce.Luca Giordano.Lucretius.Ludovico Carracci.Mannerism.Metaphor.Metonymy.Michelangelo.Museo del Prado.Neoplatonism.Painting.Paragone.Parmigianino.Penitential.Pentimento.Petrarch.Philosopher.Philosophical skepticism.Philosophy.Pietro Aretino.Pietro da Cortona.Poetry.Putto.Religion.Rhetoric.Roman Baroque.Sacristy.Saint Dominic.Saint Francis Receiving the Stigmata (van Eyck).Salvator Rosa.San Domenico Maggiore.San Gregorio Armeno.Scientific skepticism.Simon Magus.Skepticism.Spanish art.Still life.Tenebrism.The Carracci.The Expulsion of Heliodorus from the Temple.The Gay Science.The New Science.The Philosopher.Theology.Thomas Aquinas.Tintoretto.Titian.Tommaso Campanella.Truth.Zeuxis.PaintingPhilosophy.Art and philosophyHistoryPainting, ItalianPainting, BaroqueTruth.759.5/73ART015030ART015090HIS020000PHI000000bisacshBull Malcolm480974MiAaPQMiAaPQMiAaPQBOOK9910790629003321Inventing falsehood, making truth3708026UNINA