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Auswahl der wissenschaftlichen Literatur zum Thema „Metaphysical painting / art“
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Zeitschriftenartikel zum Thema "Metaphysical painting / art"
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Surlapierre, Nicolas. „La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)“. Studiolo 1, Nr. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.
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The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdinand Springer's production clearly enjoys the merger of these two characteristics ; he persistently bestows the «anti-rhetoric of the everyday» with features of metaphysical painting having found, in Italy, the «unrealising» origin of the «disquieting strangeness». His painting is thus marked by syncretism, halfway between the familiar and the bizarre, always abetting the emergence of unclear identities.
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Kormin, Nikolai Aleksandrovich. „Art and aesthetic structures of metaphysics of color“. Культура и искусство, Nr. 5 (Mai 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.
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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
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Tes, Agnieszka. „Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych“. Argument: Biannual Philosophical Journal 9, Nr. 1 (30.06.2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
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Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
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Rimpau, Laetitia. „<i>A noir – O bleu !</i> Von Laut und Schrift zur Fläche. Joan Miró und seine Methode der <i>peinture-poétique</i>“. Zeitschrift für Katalanistik 21 (01.07.2008): 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.
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Summary: Joan Miró is a towering figure in the landscape of modern art. In the 1920s, when the Catalan painter came to Paris, he totally renewed his conception of techniques and aesthetics. Generally, the works of this period are regarded as “dream pictures”, “automatic paintings”, as a constant part of French Surrealism. The following study tries, in opposition to the current approach, to show that Miró was sceptical about the surrealistic theories and practise of art, conceding having only “une tendance surréaliste”. In the Écrits, Miró offers details about important origins of inspiration: the poetry of Arthur Rimbaud (poet-seer), Guillaume Apollinaire (poet-painter) and the Dadaists (poetry-provocation). Miró not only developed a “poetic style”, but experimented with poetic texts for the process of painting. Miró’s peinture poétique can be related to Rimbaud’s famous sonnet Les voyelles (1871). The painter transferred Rimbaud’s vision of pure sounds, his suggestive and metaphysical dimension of letters into visual painting, using the language as phonetic material. In different drawings, paintings and collages the vocals A, E, I, U, O correspond to symbolic signs and can be seen as objective, abstract geometric forms. For the painter-poet Miró, writing and painting are analogue processes. Various combinations of “letter-pictures” seem to have offered an inexhaustible inventory for Miró’s poetic art. [Keywords: Miró, Rimbaud [Arthur], poetics, Les voyelles, Apollinaire [Guillaume], Calligrammes, Dadaism, Surrealism, peinture poétique].
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Rostova, N. N. „Ilya Glazunov: The Sacrificer of the National Spirit“. Orthodoxia, Nr. 4 (29.09.2023): 129–41. http://dx.doi.org/10.53822/2712-9276-2022-4-129-141.
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The article explores the philosophical meaning of Ilya Glazunov’s paintings. The author states that the artist understood the art not as the aesthetic category, but through the idea of worship. The artist considered it his ultimate mission to bring Russian meanings back to the Russian people. Essentially, this entails overcoming our metaphysical groundlessness. This approach allows us to characterize the art of Ilya Glazunov as modern and even topical in the era of cultural and intellectual desolation. In this sense, the literalism of Glazunov’s images becomes the strong side of his works. The author of the article introduces the concept of the triptych of the Russian consciousness in the twentieth century, comprised of Mikhail Nesterov’s The Soul of the People, Pavel Korin’s Farewell to Rus and Ilya Glazunov’s Eternal Russia, and explores the idea of Holy Russia shared by these artists. In this connection, the author considers the philosophical meaning of the idea of the God-bearing people, sobornost’ and the diff erences between the Christian logic and the logic of the Antichrist. The author examines the artist’s attitude to avant-garde, realism and icon painting and explains why Ilya Glazunov preferred realism in art. While avant-garde images are apophatic and icon painting exists only within the church consciousness, realistic religious painting turns out to be a direct path to the perception relying on sobornost’. Special attention is paid to Ilya Glazunov’s illustrations of the works of classical Russian literature and his attitude to Fyodor Dostoevsky. The argumentation is entirely based on the analysis of Ilya Glazunov’s specifi c paintings.
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Louria-Hayon, Adi. „A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)“. Religion and the Arts 17, Nr. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.
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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his rejection of objecthood, I argue that Flavin was continuously preoccupied with Catholic theology and that his work is imbued with Christian iconography. Thinking alongside the fourteenth-century philosopher William of Ockham and the twentieth-century post-Husserlian phenomenology of Jean-Luc Marion, the evolution of Flavin’s light constructions proves relevant to the quandary of metaphysics and the role of theology in radical immanence. To bracket his metaphysics is to ignore the full implications of his art.
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Sakhno, Irina. „The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues“. Arts 11, Nr. 5 (09.09.2022): 85. http://dx.doi.org/10.3390/arts11050085.
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The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through simultaneous use of two artistic strategies—mystical and religious symbolism, coupled with metageometry Steinberg arrives at optical formalism and spectator dialectics, vying to see the invisible and record the polysemantic nature of the symbolic sign. The article analyzes the influence Vladimir Veisberg and his “invisible painting” had on Steinberg, including the “white on white” style, as well as Giorgio Morandi’s still-life vision of metaphysical painting. The author believes that by relying on analogies and reminiscences, Steinberg refers his audience to his predecessors and joins them in an intertextual dialogue. A special place here belongs to Kazimir Malevich with his radicalism, his trend towards metasymbolism and the language of the basic forms—the circle, square and cross. All of these are close to Steinberg’s geometric plastics of the 1970s and 1980s. Staying true to the pure forms of Suprematism, Steinberg builds up an aesthetics of the geometric forms of his own, where abstract art comes together with the ontological progress towards God. The Countryside series (1985–1987) shows influence of Кazimir Malevich’s Peasant Cycle, some principles of icon painting and Neo-Primitivist art.
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Agbeshie, Abraham. „Vintage elements: Sourcing an aesthetic inspiration for contemporary Ghanaian painting“. Journal of African Art Education 3, Nr. 1 (29.06.2023): 23–47. http://dx.doi.org/10.59739/jaae.v3i1.062302.
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This study identified and discussed how some contemporary Ghanaian painters have so much interest in vintage elements. The descriptive research method was used as a qualitative inquiry for this study. The expert type of purposive sampling method was employed to select five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) whose artworks focused on vintage elements in material content and subject matter. The study used direct observation and unstructured interviews to collect data. Thus, the data were analysed into an illustrative description using the visual analysis tool. The thoughts of interest of the five contemporary Ghanaian painters revealed that the incorporation of vintage subjects helped communicate their metaphysical ideas in an artistic context. The study argues that vintage elements are rife in Ghana and should not only be seen as material content but as scenic and thematic subjects for contemporary Ghanaian painting. It is, therefore, recommended that the thoughts and usage of vintage elements in the art of painting by the five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) should be continued to inspire other contemporary Ghanaian painters including the upcoming contemporary Ghanaian artists to also adopt vintage elements in their paintings to help communicate their metaphysical ideas into artistic contexts.
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Florkovskaya, A. K. „The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s“. Art & Culture Studies, Nr. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.
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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct contact with the Sublime. Seeking out the “other world”, overcoming the limitations of the mortal and suffering world is carried out through the transformation of the Sublime. Today the subject of the Sublime in art is at the peak of research interest. This is evidenced by the project The Art of the Sublime, launched in 2008 by the Tate Modern gallery (London, UK), dedicated to the study of this phenomenon from the Baroque era to the present day. It touches upon all types of visual art from painting to installation. Research shows how evolution goes from the natural Sublime, realized in the depiction of rare and impressive natural phenomena, to the technological Sublime, which declared itself in the second half of the twentieth century, to the distinction between the Sublime and the beautiful. In modern Moscow painting, we meet the implementation of the principle of the Sublime in the work of the artist Vladimir Matveev. Relying on the sacred art of Russian icons, and the avant-garde, the color discoveries of post-impressionism and the energetic abstraction of neo-expressionism, he creates his version of the Sublime in contemporary painting. In his large-format canvases, the artist expresses the essence of the vital as the Sublime, metaphysical and mental principles with the help of rich color and sharp juxtaposi- tion of abstract and natural forms.
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Oleynik, Maria. „Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)“. Ideas and Ideals 14, Nr. 2-2 (27.06.2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
Dissertationen zum Thema "Metaphysical painting / art"
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Manganiello, Ilaria. „L'élaboration du concept de "poésie métaphysique" et d' "art métaphysique" chez T.S.Eliot, Eugenio Montale et Giorgio de Chirico“. Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL060.
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Cette thèse s'attache à reconstituer le mouvement ou l'avant-garde littéraire et artistique du début du XXe siècle appelée Métaphysique à travers deux poètes : T.S. Eliot et Eugenio Montale et un peintre : Giorgio de Chirico. L'analyse de la philosophie et de la poétique des auteurs en question nous a permis d'identifier certains éléments communs aux trois auteurs. Cela nous a autorisé à reconstruire, ou plutôt, à définir le mouvement d'avant-garde susmentionné, qui, en fait, sans le présent travail, n'aurait pas trouvé une telle définition. La métaphysique telle qu'elle est comprise par T.S. Eliot, Montale et de Chirico repose notamment sur l'idée de l'énigme qui sous-tend toute réalité, énigme qui est la métaphysique elle-même, et sur l'idée du temps comme éternel présent et éternel retour à travers la résurgence du mythe et de la littérature comme voix intemporelles. Ainsi, la Waste Land, par exemple, est le contenant dans lequel résonnent les voix littéraires, poétiques et mythiques d'autres textes ; et l'atemporalité des atmosphères métaphysiques chez Chirico, (on pense par exemple à la statue de l'Ariadne abandonnée), est également un retour : le retour du passé mythique de l'Occident dans le temps présentThis thesis is concerned with reconstructing the movement or literary and artistic avant-garde of the early 20th century called Metaphysical Art through the figures of two poets: T.S. Eliot and Eugenio Montale and a painter: Giorgio de Chirico. The analysis of the philosophy and poetics of the authors in question has allowed us to identify a certain number of elements common to the three authors. This has made possible the reconstruction, or rather, the definition of the aforementioned avant-garde movement, which, in fact, without the present work, would not have found such a definition. Metaphysics as understood by T.S. Eliot, Montale and de Chirico rests, in particular, on the idea of the enigma that underpins reality, an enigma that is metaphysics itself, and on the idea of time as eternal present and eternal recurrence through the resurfacing of myth and literature as timeless voices. Thus, the Waste Land, for example, is the container in which the literary, poetic, mythical voices of other texts resonate, and the timelessness of the metaphysical atmospheres painted by de Chirico, (e.g. the statue of the abandoned Ariadne), represents also a return: the return of the mythical past of the Western culture into the present time
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Heins, Barbara. „Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings“. Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.
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Kouroutaki, Alexandra. „Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro“. Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30057.
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L’objectif de ce travail est l’étude de la démarche artistique du mouvement surréaliste et de la peinture métaphysique en Grèce pendant la période des années 1930. En particulier la thèse étudie le cas des peintres Nikos Engonopoulos, Gerassimos Steris et Georges Gounaro. Tout en examinant « l’idiome pictural » des artistes, ce travail vise également à élucider les influences reçues des artistes Grecs tant par le mouvement surréaliste en France que par les aspirations métaphysiques de la peinture de Giorgio de Chirico. Ainsi orientée, la mise en relation s’effectue sur deux axes, premièrement thématique et deuxièmement stylistique. Dans la première partie, la thèse considère la réception du surréalisme et de la peinture métaphysique en Grèce, effectuée dans des conditions hostiles. Il s`agit donc d`étudier le concept de la « Grécité » et le contexte historique et sociopolitique qui a marqué l’implantation retardée et l’expression affaiblie de cette peinture qui, affranchie des contraintes de l’académisme, a provoqué un scandale sans précédent, combinant Modernisme et Tradition. Dans les parties suivantes, ce travail aborde des thèmes communs dans l`œuvre des artistes du corpus, à savoir l`espace pictural surréel, méta empirique, et onirique, les visions métaphysiques, le rôle du Mythe Orphique, et finalement la représentation et le symbolisme de la figure humaine, historique et mythique, dans son inquiétante étrangeté. De surcroît, la thèse révèle l’originalité de cette création artistique subversive (thèmes choisis, techniques, dessin, et couleurs utilisées) qui a oscillé entre les influences occidentales et la revendication d`une spécificité nationale et culturelleThe objective of this work is the study of the artistic process of the surrealist movement and the metaphysical painting in Greece, during the 1930s. In particular, the thesis examines the case of painters Nikos Engonopoulos, Gerassimos Steris, and Georges Gounaro. While examining the artists’ « pictorial idiom », it also seeks to elucidate the influences received from Greek artists by the surrealist movement in France and by the metaphysical aspirations of Giorgio de Chirico’s painting. The method of approach is based on the parallel, performed on two axes, firstly thematic and secondly stylistic. In the first part this work considers the reception of surrealism and the metaphysical painting in Greece, at the time of the inter-war period, which was carried out in adverse conditions. The reasons for the weak expression of Surrealism and its delayed implantation in Greece are attributed to the socio-political context and the imperatives of the time. This surreal and metaphysical creation, freed from the constraints of academic painting, caused a scandal as she approached Greek tradition in an innovative way. In the following sections the research deals with common topics in the pictorial work of Greek artists’, namely the surreal, meta-empirical, and dreamlike pictorial space, as well as painters’ metaphysical visions, the role of the Orphic myth, and finally the presence and the symbolism of historical and mythical human figures which often follow the principle of metamorphosis. In addition this work reveals the originality of this art (topics, drawing and colours used) mainly due to its Greek character. It’s a particular case study of that thoroughly subversive artistic creation, oscillated between Western influences and claims of national and cultural specificity
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White, David Allan, of Western Sydney Nepean University und Faculty of Visual and Performing Arts. „From Apollonian to Dionysiac : a paper on Nietzsche's division of culture into two principal strains. The Apollonian and the Dionysian, and its application to the art of painting“. THESIS_FVPA_XXX_White_D.xml, 1996. http://handle.uws.edu.au:8081/1959.7/464.
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In this research paper for the postgraduate degree of Master of Arts (Hons) (Visual Arts), the author is proposing to investigate the relationship of Nietzsche's division of culture into two principal strains, 'The Apollonian and the Dionysiac', and its application to the art of painting. When Nietzsche wrote the 'Birth of Tragedy' in 1872, from which his division of culture emerged, it was entitled 'The Birth of Tragedy from the Spirit of Music'. Young (1992), also describes music as 'The Dionysian art' in his book 'Nietzsche's Philosophy of Art'. With consideration to changes in art and perception between the latter nineteenth and the twentieth century, a stronger argument for the inclusion of painting as 'a Dionysian art', can be formed. The author also analyses the metaphysical in art and through an examination of the nature of the Dionysiac as described in religious rites as opposed to varying analysis from Nitzsche and his criticsMaster of Arts (Hons) (Visual Arts)
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White, David. „"From Apollonian to Dionysiac" /“. View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.145642/index.html.
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Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1996."A paper on Nietzsche's division of culture into two principal strains. "The Apollonian and the Dionysiac", and its application to the art of painting.--t.p.
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Benson, Martin L. „Beginner's Mind“. ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Austin, Travis R. „Laminated PAINT“. VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Caldarola, Elisa. „Pictorial Representation and Abstract Pictures“. Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.
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This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction.
The first part is dedicated to a survey of the analytical debate on depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting.
There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well.
Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich.Il mio lavoro si inserisce nell’ambito del dibattito sul concetto di rappresentazione pittorica (RP) e sulla teoria dell’arte pittorica recentemente portato avanti in area analitica. I miei obiettivi principali sono un’esposizione critica dei problemi sollevati dalla tesi secondo cui è la somiglianza agli oggetti dipinti che spiega RP e un’analisi del fenomeno della pittura astratta da un punto di vista analitico. La prima parte è dedicata ad una ricognizione del dibattito analitico su RP, con particolare attenzione ai destini della “teoria della somiglianza”. Nel primo capitolo traccio i contorni delle principali teorie attualmente discusse, nel contesto di un’analisi della letteratura tradizionale sull’argomento, da Platone a Cartesio. La decisione di dare maggiore rilevanza alla teoria della somiglianza rispetto che ad altre teorie su RP è motivata dal fatto che il resto della mia ricerca è dedicato all’analisi e a una proposta di arricchimento di una delle proposte che recentemente hanno riproposto la teoria della somiglianza, benché con alcune importanti modifiche. Si tratta della teoria difesa da John Hyman, che espongo nel secondo capitolo, avendo cura di mostrarne i presupposti e di discutere alcune critiche e obiezioni che le sono state mosse. Il terzo e quarto capitolo sono dedicati all’arricchimento della teoria di Hyman in relazione al fenomeno della pittura astratta. Due sono le peculiarità della teoria di Hyman: primo, è in controtendenza rispetto a tutte le altre attuali proposte sulla RP, perché non ha bisogno di concepire RP come rappresentazione di particolari o di tipi di oggetti che possiamo facilmente identificare; secondo, è una teoria che porta l’arte al centro della discussione filosofica su RP. Hyman, infatti, illustra la sua proposta con numerosi riferimenti alla storia delle arti figurative. La seconda parte di questo lavoro è ispirata dall’idea che la teoria della somiglianza di base di Hyman si possa applicare anche ai dipinti astratti. Lo sviluppo di un’analisi della pittura astratta da un punto di vista analitico è un compito con cui finora si sono misurati pochissimi autori – per quanto ho potuto appurare. Tuttavia, è evidente che gli obiettivi che i pittori di immagini astratte si pongono sono vicini a quelli che si pongono i filosofi quando discutono sulla RP. È opinione diffusa che uno dei temi principali dell’arte contemporanea sia l’arte stessa, e che uno dei temi principali della pittura astratta sia l’arte stessa di dipingere, l’arte di produrre immagini, con i suoi limiti e le sue convenzioni. Motivata da queste considerazioni, ho cercato di dare una prima formulazione alla proposta di una teoria della somiglianza di base della RP applicata ai dipinti astratti. I miei principali riferenti critici sono filosofi come Richard Wollheim, Kendall Walton e Lambert Wiesing, e critici e storici dell’arte come Clement Greenberg ed Ernst Gombrich.
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Lin, Li-ching, und 林禮慶. „Mystical language--A study on the style of painting in Metaphysical Art“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54119245042989145556.
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碩士南華大學
美學與視覺藝術學系碩士班
98
The thesis''s main research objective is to explore the expressive style and the progression of creative process of Giorgio de Chirico''s metaphysical paintings, and to apply metaphysical painting''s concepts and theories on the author''s own artistic creations. Giorgio de Chirico''s metaphysical painting style, not only escapes the restrictions of naturalism, but also differs from the classical style from the Renaissance. The themes he created usually express the aloof and cold realistic feelings that pertain to the metaphysics; sometimes he expresses the metaphysical philosophy from the flamboyant images. Giorgio de Chirico''s paintings imply unintelligible poetic rhythms; understanding and appreciating his paintings can make one feel a quiet mysteriousness. This essay tries to compare Giorgio de Chirico''s metaphysical paintings and the author''s works; it also explores the true meaning of art by analyzing and researching aspects such as both persons'' technical expression, objected images, and figure''s implications. This thesis''s research objective is to ascertain the author''s artistic and creative direction through understanding Giorgio de Chirico''s creative ideas and movingly deep implications. I hope readers can improve their appraisal during the process of understanding Giorgio de Chirico''s painting languages and creative forms.
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Allan, Michele Margaret. „‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space“. Phd thesis, 2013. http://hdl.handle.net/1885/13491.
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Artworks produced in this studio-based research (option D) involve exploration
of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the
way the sea looks, but also with what the sea inspires. They explore the spatial
dynamics of underwater terrains, convergences of inner and outer ‘space’, and
question if and how the numinous and immaterial might be made manifest in the
material. References to the traditional story of Jonah and the Whale operate as a
contemporary metaphor for the sea as a site of death and renewal. Through the
creation of series of paintings, works on paper and engraved glass overlays, the sea
is examined as a synthesis of the complex and diverse on many fluidly interacting
levels, including the empirical, experiential and metaphoric. As a poetic space with
many levels of resonance, it becomes ground for exploring the creative process,
the nature of being and processes of transformation and change within each.
Research questions include: What might a contemporary expression of
the interaction of the physical and metaphysical self be like? How might a
synthesis of abstraction and representation be created in the visual language of
painting? How might concepts of unity be reconciled with rhythms of death and
renewal, transformation and change? Does unity necessarily mean uniform?
A significant aspect of this research has been the generation of artworks on or through
field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island
Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In
exploring the interface between abstraction and representation, unity and diversity,
and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning
these seeming opposites as co-creative, relational and finally inseparable.
The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional
chapters are replaced by multiple and varied sections, each called a WAVE and written
in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond
more directly to the way practice-driven research creates meaning, the wave structure
reflects the wider concerns of the research to synthesise the unexpected and diverse.
Bücher zum Thema "Metaphysical painting / art"
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Paolo, Fossati. La " pittura metafisica". Torino: G. Einaudi, 1988.
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Montalto, Domenico, und Francesco Cancelliere, Hrsg. Il mago ascolta. Messina, Italy: Galleria Francocancelliere, 2004.
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3
Grenoble, Musée de, Hrsg. L' art italien et la metafisica: Le temps de la mélancolie, 1912-1935. Arles: Actes sud, 2005.
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Italy), Palazzo Ziino (Palermo, Hrsg. Giorgio De Chirico: Miti, enigmi, inquietudini : Palermo, Palazzo Ziino, 25 ottobre 2002-6 gennaio 2003. Palermo: Edizioni ADA, 2002.
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Dulbecco, Gian Paolo. Gian Paolo Dulbecco: I dipinti. Bologna, Italy: Paracelso arte contemporanea, 2000.
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1888-1978, De Chirico Giorgio, und Blu palazzo d'arte e cultura (Pisa, Italy), Hrsg. Giorgio de Chirico e la metafisica. Milano: Skira, 2020.
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Patrikalakēs, Phaidōn. To realistiko, to erōtiko, kai to hypervatiko stē zōgraphikē. [Athens]: Aigokerōs, 1988.
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Baldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus: Uno sguardo nell'invisibile. Firenze: Mandragora, 2010.
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Guarienti, Carlo. Carlo Guarienti: Opere recenti. Milano: Electa, 1997.
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Guarienti, Carlo. Carlo Guarienti: Opere 1946-1994. Milano: Charta, 1994.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Metaphysical painting / art"
1
Man, Eva Kit Wah. „Metaphysics, Corporeality and Visuality: A Developmental and Comparative Review of the Discourses on Chinese Ink Painting“. In Chinese Contemporary Art Series, 37–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.
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Novak, Barbara. „Epilogue: The Twentieth Century“. In American Painting of the Nineteenth Century, 217–38. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0015.
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Abstract It seems obvious from the foregoing chapters that America brought into the twentieth century an art that exhibited specific tendencies and continuities. From the limners on, American artists had held, in one way or another, to the adamant control of idea. Enlisting measure, mechanics, and technology as aids toward a certainty that was often as ideal as it was real, American artists guarded the unbroken integrity of the objects or things of this world, which became, very often, vessels or carriers of metaphysical meaning. Tempered by the dual planar inclinations of a continuing folk tradition and a classic mensuration, matter, in American nineteenth-century art, was often stable, fixed, weighted, the pictorial parallel of an age still dominated by Newtonian physics. Dissolution of matter, when it occurred, was rarely scientific or analytical, but emotive and lyrical, becoming part of a quietistic tradition and reaching through memory to another area of Mind. Through it all, the thing dominated, amounting, in fact, to a preoccupation with things, amplified by concerns with light, space, weather, and time that were often additional routes to the character of an environment shaped by things, as well as extensions from the world at large to the thing.
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Demyanchuk, Andriy. „AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES“. In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-1.
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The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.); artistic and stylistic (analysis of the manner of individual masters, their schools, separate fine arts periods); philosophical (metaphysical method: essence and phenomenon; substance and form); theological (church canons; divinity of the icon); method of artistic analysis. Research results. A unique author's technology of producing icons was developed and described on the basis of the study of the best methods of ancient and modern technological processes. This technology has been tested by the well-known students of the sacred art. Scientific novelty of the obtained results is that valuable materials dealing with the use of the ancient techniques and technological processes in modern sacred art have been contributed to the Ukrainian fine arts science, particularly, icon painting using the ancient egg-tempera techniques (taking into account the author's experience). Recommendations. The study of the ancient techniques and technological processes and their application in contemporary painting still require further theoretical research.
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Garfield, Rachel, Jenny Chamarette und Darragh O’Donoghue. „Stephen Dwoskin, an Intermedial Artist“. In The Moving Form of Film, 225—C14P53. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0015.
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Abstract The work of Stephen Dwoskin (born 1939 in Brooklyn, died 2012 in London) is varied in form, subject matter, and genre. He is best known for his early underground films, his seminal book Film Is . . ., and his role in setting up the London Film-Makers’ Co-op. Dwoskin was a working-class man, part of the Eastern European Jewish diaspora, and a survivor of childhood polio who used calipers, crutches and a wheelchair to support his mobility. He navigated experiences of multiple exclusion across his lifetime, and nevertheless had a prolific output of films, graphic design, painting and writing. This chapter explores his artwork through the films Chinese Checkers (1965), Trixi (1969), Dyn Amo (1972), Central Bazaar (1976), Trying to Kiss the Moon (1994), and Grandpère’s Pear (2003), which span his life and demonstrate the breadth of his oeuvre. These provide an examination of Dwoskin as an intermedial artist who came to artistic maturity in the multimedia New York Underground of the early 1960s, and whose practice was informed by, and often incorporated, other art forms, such as dance, painting, performance, avant-garde theatre, literature, and music. Through close readings of film works as well as historical contextual analysis, this medial multiplicity will be shown to be an artistic embodiment of the layered complexities of any person’s life: the relationship between the individual, the family, and ethnic and national tradition; the interplay between the artist and histories of art; the conflation of varied temporal, spatial, and even metaphysical coordinates; and the paradox of the organic individual using impersonal reproductive technology to record and provide access to a life.
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Rudd, Anthony. „Truth (and Goodness) in Painting“. In Painting and Presence, 38—C2.P44. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0003.
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Abstract The chapter starts with a brief review of the philosophical tradition which—from Neoplatonism to Hegel—has held that painting can convey philosophically significant truth. This depended on a broader metaphysics of value which has been challenged by the modern ‘disenchantment’ of the world. It defends the claim that painting can convey important truths and that because such truths are not paraphrasable—expressible in any other form—art is not (as Hegel had claimed) ultimately dispensable as a means of conveying truth. But it also argues that the truthfulness of painting can only explain its value, if the truths it makes known to us are worth knowing. Here it looks to Iris Murdoch’s Platonic defence of art against the Platonic critique—her argument that great art is an instance of the truthful, attentive perception of reality that she also sees as fundamental to ethics.
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Parkinson, Nicholas. „De Chirico and the Fin de Siècle: The Metaphysical Paintings and Their Relationship to Symbolism“. In The Symbolist Roots of Modern Art, 178–92. Routledge, 2017. http://dx.doi.org/10.4324/9781315085104-18.
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Yturralde, José María, und Adolfo Plasencia. „Geometry of a Multidimensional Universe: Weightless Art and the Painting of the Void“. In Is the Universe a Hologram? The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036016.003.0033.
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In this dialogue, which is also the epilogue of the book, the artist José María Yturralde, holds a conversation with the author in eight parts: In 1. He reflects on MIT, Art and Science; 2. He considers geometry and its absence; 3. He makes a moving reflection on the metaphysics of art and Mark Rothko; 4. He argues the veracity of the equation "Beauty ≠ truth" and whether the great poet Keats’ idea can be denied; 5. Yturralde expounds his arguments about the “Order versus chaos" dichotomy; 6. He answers the question of whether a painting can change the past, or contains regret; 7. The artist outlines his philosophy on the "void" (voidness), the “nothing” (nothingness), and “emptiness”, which are central concepts in all his works; and lastly, in 8, Yturralde reflects on science, art and scientific reductionism, and argues why art and science need each other.
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L.Walton, Kendall. „Metaphor and Prop Oriented Make-Believe“. In Fictionalism In Metaphysics, 65–87. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199282180.003.0003.
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Abstract Dolls and hobby horses are valuable for their contributions to make-believe. The same is true of paintings and novels. These and other props stimulate our imaginations and provide for exciting or pleasurable or interesting engagements with fictional worlds. A doll, in itself just a bundle of rags or a piece of moulded plastic, comes alive in a game of make-believe, providing the participant with a (fictional) baby. What in real life is a mere stick enables a child fictionally to ride around on a horse, the better to chase bandits or stray cattle. Paint on canvas and print on paper lead us into exciting worlds of mystery, romance, and adventure and guide our travels through them.
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„Dante Gabriel Rossetti (1828-82)“. In A Century of Sonnets, herausgegeben von Paula R. Feldman und Daniel Robinson, 213–15. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0084.
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Abstract Dante Gabriel Rossetti and his siblings, William Michael and Christina, were the children of an Italian patriot who came to England in 1824. A poet, highly influenced by Keats, and painter apprenticed to his mentor and life long friend Ford Madox Brown (1821-93), and driven by his own aesthetic principles, Rossetti founded the Pre-Raphaelite Brotherhood in 1848 to re form the styles and manners of Victorian art. His interests in poetry and painting are inextricably combined, as he demonstrates in his important early sequence Sonnets for Pictures. His later sonnet sequence, The House of Life (1870), in part a response to his wife’s suicide, explores the metaphysics of erotic love, death, and spirituality. In 1871 Robert Buchanan (1841-1901) attacked it as pornography.
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Earnshaw, Steven. „Habitual drunkards and metaphysics: case studies from the Victorian period“. In The existential drinker, 45–64. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719099618.003.0002.
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Through four ‘case studies’ this chapter identifies behaviours, attitudes and representations which hint at the emergence of a new figure, and suggest significant moments in the transition from the nineteenth-century’s stereotyping of the habitual drunkard to the twentieth-century’s Existential drinker. Mary Thompson was a habitual drunkard discussed in a Parliamentary Report who rejected all attempts to make her respectable, preferring to live the life of a drunkard; George Eliot’s tale ‘Janet’s Repentance’ provides an unusually sympathetic religious/philosophical apprehension of somebody determined to drink; Zola’s novel L’Assommoir describes the drinker’s response to the modern, alienating city; van Gogh’s painting ‘Night Café at Arles’, along with a letter he wrote to his brother, introduces a self which is perched dangerously close to ruin, transformation, or oblivion. The figures encountered here, both real and fictional, are largely ‘ordinary’ people, rather than (Romantic) ‘others’ or self-avowed ‘philosopher-drinkers’, and offer glimpses of the themes and representations which in the twentieth century contribute to the figure of the Existential drinker that is discussed in the following chapters.
Konferenzberichte zum Thema "Metaphysical painting / art"
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Jia, Ruo. „Cloud as an Alternative Architecture“. In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.
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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s turn represented his philosophical initiative to reflect on and shift away from Western metaphysics, especially from the negative dialectics of Hegel, and towards a different architecture based on a harmonious and positive materialist dialectic inspired by Chinese Taoist and Chan Buddhist philosophy. Here, in Damisch’s “reinvention” of Chinese painting, the cloud not only literally entered paintings to negotiate the intertextuality of mountain and water, ink and brush, and even that of the painter and painting, but also to fill the role of the materialist body in a different perspective of world formation—as the breath, the one movement that sustains or constitutes all life. In Damisch’s vision, such a cloud even leads to a different kind of architecture, one that counters the philosophical metaphor of architecture as the stability of the arche, the subject, the essence, or any anchored center. The cloud and its philosophical architectural alternative also contribute to a reflection on the very physicality of architecture, leading to the formation of an architecture in absentia, to which Damisch was to return in 2003 when discussing Diller+Scofidio’s Blur Building (2002), as well as the Chinese architecture of the Ming Dynasty.