{"title":"3. Technical Images and the Transformation of Matter in Eighteenth-Century Tuscany","authors":"Anna Luppi","doi":"10.2307/j.ctv12sdvn4.19","DOIUrl":null,"url":null,"abstract":"The essay investigates the production of scientific images and threedimensional\n models in the effervescent dialogue between art and science\n of eighteenth-century Tuscany. Created to meet new didactic needs, these\n technical images, such as the anatomical tables conceived by anatomist\n Paolo Mascagni for the students of the Academy of Fine Arts, abandoned\n the Vesalian topos of the cadaver as a life-like statue and gave rise to a\n novel lithic iconography, which emphasised the textured materiality of\n human remains and their potential transformations across the natural\n and artificial realms. The miscegenation of manufactures and natural\n productions was given pride of place in anatomical and botanical atlases,\n as well as in the scientific collections that sprung up in Tuscany at the time.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bodies of Stone in the Media, Visual Culture and the Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv12sdvn4.19","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The essay investigates the production of scientific images and threedimensional
models in the effervescent dialogue between art and science
of eighteenth-century Tuscany. Created to meet new didactic needs, these
technical images, such as the anatomical tables conceived by anatomist
Paolo Mascagni for the students of the Academy of Fine Arts, abandoned
the Vesalian topos of the cadaver as a life-like statue and gave rise to a
novel lithic iconography, which emphasised the textured materiality of
human remains and their potential transformations across the natural
and artificial realms. The miscegenation of manufactures and natural
productions was given pride of place in anatomical and botanical atlases,
as well as in the scientific collections that sprung up in Tuscany at the time.
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