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KO12002001-20090331-0331.pdf
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Note of Fra Angelico's rendering of light and shadow
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遠山, 公一
![](https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/image.php/to_kris.png) |
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トオヤマ, コウイチ
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Toyama, Koichi
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Centre for Advanced Research on Logic and Sensibility The Global Centers of Excellence Program, Keio University
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2009
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CARLS series of advanced study of logic and sensibility
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2
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2008
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331
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340
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The following remarks are a summary of my observations and ideas on the rendering of light and shadow in the pictorial works of Fra Angelico (ca.1400-1455).
I would like to begin not with Fra Angelico, but rather with Masaccio. We know that Masaccio first systematically introduced cast shadows caused by natural light coming from a real window in his frescoes painted for the Brancacci Chapel in Santa Maria del Carmine, Florence. The Tribute Money appears a perfect example (fig. 1). The cast shadows in this scene, however, are somewhat inaccurate from a strictly scientific' point of view. Indeed, the window on the back wall of the Chapel is not the only source of light for the wall-decoration, and we cannot but wonder why the shadows of the Apostles are cast only on the ground where they stand and not on the other Apostles as well. Roberto Casati calls this type of shadow a 'carpet shadow'.1 Furthermore, the shadow cast by the building on the right does not fall on the Apostles or Christ. Are these inconsistencies the result of an immature or incomplete application of shadows, or of Masaccio's preference for an elaborate and successful design?
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Part 4 : Philosophy and Anthoropology : 一部図版削除
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