Author: H. MagnusPublisher: Wayenborgh Publishing
ISBN: 9062998933
Category : Medical
Languages : en
Pages : 560
Book Description
Ophthalmology of the Ancients
Author: H. MagnusPublisher: Wayenborgh Publishing
ISBN: 9062998933
Category : Medical
Languages : en
Pages : 560
Book Description
Ophthalmology of the ancients
Author: Hugo MagnusOphthalmology of the ancients
Author: Hugo MagnusPublisher:
ISBN:
Category : Medicine, Ancient
Languages : en
Pages : 255
Book Description
Ophthalmology of the Ancients
Author: Hugo MagnusOphthalmology of the Ancients: Galen to Paul of Aegina
Author: Hugo MagnusPublisher:
ISBN:
Category : Medicine, Ancient
Languages : en
Pages : 266
Book Description
The History of Ophthalmology: Parts 1-2. Ophthalmology of the ancients
Author: Julius HirschbergPublisher:
ISBN:
Category : Ophthalmology
Languages : de
Pages : 0
Book Description
History of Ophthalmology
Author: Hirschberg. J.Hirschberg History of Ophthalmology
Author: Julius HirschbergThe Eye and Man in Ancient Egypt
Author: Richey L. WaughPublisher: Wayenborgh Publishing
ISBN: 9062998909
Category : Medical
Languages : en
Pages : 825
Book Description
The Eye and the Beholder
Author: Hannelore HägelePublisher: Cambridge Scholars Publishing
ISBN: 1443861006
Category : Art
Languages : en
Pages : 343
Book Description
In The Eye and the Beholder the author singles out a topic already touched upon in her previous book, Colour in Sculpture. By raising the question of how significant the colouring of the eye is to figurative representations of the late medieval and early modern period, Hannelore Hägele examines the different solutions open to the sculptor, which vary depending on historical and cultural parameters. The created eye must suit purpose and style. She discusses a number of unusual aspects of this: sculpted eyes in antiquity; the art and craft of polychromy; partial polychromy; emotions and expressions; the gaze and the glance; from the sculpted eye to colour and the glass eye; and what the eye cannot see. Dr Hägele asks whether advances in optics and other sciences, or theological concepts such as the eye of God and the inner eye, determined the way in which eyes were perceived and represented. It is the beholder, whether as maker or viewer, who engages with and judges the worth of any creative effort and what it contributes to an understanding of the seen and the unseen. The illustrations and the many coloured plates accompanying the text offer an overview of the subject.