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On Alberti's "sign": vision and composition in quattrocento painting - Leon Battista Alberti's commentary 'On Painting'
Art Bulletin, The, Dec, 1997 by Jack M. Greenstein
Gage, John, Color and Culture: Practice and Meaning from Antiquity to Abstraction, Boston, 1993.
Greenstein, Jack M., Mantegna and Painting as Historical Narrative, Chicago, 1992.
Hills, Paul, Light of Early Italian Painting, New Haven, 1987.
Lindberg, David, C., Theories of Vision from al-Kindi to Kepler, Chicago, 1976.
Rykwert, Joseph, and Anne Engel, eds., Leon Battista Alberti, exh. cat., Palazzo del Te, Mantua, 1994.
Sabra, A. I., 1978, "Sensation and Inference in Alhazen's Theory of Vision," in Studies in Perception: Interrelations in the History of Philosophy and Science, ed. Peter K. Machamer and Robert G. Turnbull, Columbus, Ohio, 160-85.
-----, 1989, "Form in Ibn al-Haytham's Theory of Vision," Zeitschrift fur Geschichte der Arabisch-Isalischen Wissenschaften, v, 115-40.
Summers, David, Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics, Cambridge, 1987.
Tachau, Katherine H., Vision and Certitude in the Age of Ockham: Optics, Epistemology and the Foundations of Semantics, 1250-1345, Studien und Texte zur Geistesgeschichte des Mittlealters, New York, 1988.
Jack M. Greenstein is author of Mantegna and Painting as Historical Narrative (Chicago, 1992) as well as articles on Alberti, Ambrogio Lorenzetti, Michelangelo, Leonardo da Vinci, time in Renaissance painting, and the concept of iconicity. The present article initiates a series of studies devoted to the nature effect in Renaissance art [Visual Arts Department 0327, University of Calif., San Diego, 9500 Gilman Drive, La Jolla, CA 92093-0327].
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