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1
Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 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, no. 5 (May 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.
3
Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (June 30, 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.
4
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 (July 1, 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, no. 4 (September 29, 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, no. 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, no. 5 (September 9, 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, no. 1 (June 29, 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, no. 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, no. 2-2 (June 27, 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.
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Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.
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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works).
In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke.
In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy.
In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of calligraphy, GwanMulCheeSangRon and painting styled character fonts and forms.
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Guardiano, Nicholas. "Notes toward a Semeiotic of Art." Cognitio: Revista de Filosofia 24, no. 1 (May 27, 2023): e61862. http://dx.doi.org/10.23925/2316-5278.2023v24i1:e61862.
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Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics.
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Bychkov, Victor. "Wackenroder’s “Phantasies” about Art as a Manifest of Romantic Aesthetics." Философия и культура, no. 8 (August 2023): 111–26. http://dx.doi.org/10.7256/2454-0757.2023.8.43886.
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Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.
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Sulikowska-Dejena, Agata. "A Plein Air Painting Event as a Liminal Experience Building the Artists’ Community." Przegląd Socjologii Jakościowej 20, no. 3 (August 31, 2024): 36–49. http://dx.doi.org/10.18778/1733-8069.20.3.03.
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The subject of the article is a plein air painting event, considered as a liminal experience that is widely practiced by traditional artists to create and maintain communities in the local and supra-local art fields. The interest in organizing this kind of meetings among artists, modern art galleries, and art schools is not decreasing, and one can talk about the exceptionally long duration of the phenomenon. This article discusses the experience of participants for whom these joint meetings have a metaphysical dimension. The descriptions and expressions used by the artists have become the inspiration to use Victor W. Turner’s concept in the analysis. That is why this practice is discussed as a liminal experience and a rite of passage, whereas the relations between its participants are understood in terms of a specific type of community that is called by Turner ‘spontaneous communitas’. All the considerations and conclusions included in this text are based on qualitative research conducted among visual artists.
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Beaudin Pearson, Natasha. "Merleau-Ponty and Barthes on Image Consciousness: Probing the (Im)possibility of Meaning." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (October 2, 2019): 8–18. http://dx.doi.org/10.6017/dupjbc.v6i1.11727.
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Why exactly do paintings and photographs affect us, despite being flat, inanimate objects? Merleau-Ponty and Barthes both attempted to answer just as much and arrived at two conflicting accounts of the ontology of image consciousness. In Merleau-Ponty’s conception, paintings offer an infinite number of hermeneutic possibilities, while in Barthes’, photographs are a “closed field of forces,” thereby making their meanings necessarily contingent and circumscribed. In an effort to identify the point of contention between the two theories, this paper first outlines Merleau-Ponty’s phenomenology of painting and contrasts it with Barthes’ theory of photography. Next, it considers both theses through the lens of psychoanalytic theory, positing that both Merleau-Ponty’s philosophy of art and Barthes’ notion of the studium correspond to Sigmund Freud’s idea of the pleasure principle, while the Barthesian notion of the punctum maps onto the Freudian concept of the death drive. Finally, I argue that the crux of Merleau-Ponty’s and Barthes’ disagreement on the metaphysical status of images has to do with the possibility -- or impossibility -- of meaning.
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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.
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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and representative, but as exploring the boundaries of various material phenomena and their existence in time. She also interprets medieval art as deductive rationalism, which gives the keys to the experiences of modernity. Reflections on art make it possible to reassemble the impressions of the experience, understanding medieval dogmatic intuitions not just as correct, but as modern. Schwartz, criticizing representative art and reconstructing medieval presumptions of art creation, clarified the boundaries of the artistic expression of Christian dogma.
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Harte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.
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In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion of Western art and Russian history, a continual emphasis on the image of the frame prevails, with the frame constituting an important artistic and metaphysical threshold for the filmmaker. Constandy moving through the ubiquitous frames, Sokurov establishes his own cinematic rendering of culture's eternal essence.
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Zamfir, Ioana. "Accuracy, veracity, and theological truth in the 16th century atlas <i>Theatrum Terrae Sanctae</i>." Proceedings of the ICA 4 (December 3, 2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-116-2021.
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Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.
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Jassim Hassan Al Bayati, Sahib, and Safaa Salah Rashid. "The image of the soldier in contemporary Iraqi painting." Al-Academy, no. 106 (December 15, 2022): 187–204. http://dx.doi.org/10.35560/jcofarts106/187-204.
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The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topic dealt with the philosophical and artistic concept of the image. The second topic was concerned with the representations of the soldier's image in modern painting, while the third topic dealt with the characteristics of the soldier's image in Iraqi painting.The third chapter was devoted to research procedures. In order to achieve the goal of the research, a number of results were reached in the fourth chapter, including:1- The imaginary image of the soldier appeared through a visual scene that combined different times and places in one space, as Alaa Bashir relied on the combination of the two aerial perspectives (or the so-called bird’s eye), and the ground according to metaphysical philosophy, which aims to transform the world and things into imaginary visions. Where the idea transcends the reality. (model 1)2- The realistic sensory image of the soldier was shown by the colors and their poetic effects on the influences and suggestive codes carried by the color, and the depth of the spirit of originality mixed with heritage, which makes us feel belonging, authenticity and national identity, defined by the priorities of the sensible and what is aesthetically perceived. (Model 2)1- The figurative image is one of the images that arise in the art of painting, and it witnesses an intense presence in the context of the significance of the image and the referral to a mental conception through concepts abstracted from its sensory image.2- The imaginary image in art witnesses a moral dimension regarding the mind’s retrieval of things abroad, and building them in a way that reveals new relationships that were not realized before.3- According to mental images, images are manifested in art within the limits of the work of knowledge and mental awareness. Images are formed when the mind is the repository, as the analyzer and compound of the meanings of things outside.4- The sensory image in art works on dismantling reality by relying on simulation, as imagination works in it to depict the moral abstract in a sensual way, relying on experience as a source of all knowledge and its domain is the mind
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Юшкова, О. А. "Simple things and metaphysical still life in Moscow art of the 1960s and 1970s." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 280–95. http://dx.doi.org/10.46748/arteuras.2023.04.018.
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Статья посвящена проблеме обращения художников разных направлений к мотиву «простые вещи», что нашло отражение в натюрморте 1960–1970-х годов. Обычно каждое направление рассматривается отдельно от общего художественного процесса. Автор на примере натюрморта прослеживает, как трансформируется проблематика, заданная временем, в творчестве мастеров официального круга, сурового стиля и различных вариантах андеграунда. Простые вещи неизбежно должны были привлечь внимание после почти тридцатилетнего преобладания тематической картины в советском искусстве. В период оттепели начинают цениться малые жанры, в которых выражение личностного мироощущения не зажимается большой темой. В статье анализируется подход к натюрморту с набором простых предметов В.Ф. Стожарова, А.В. Васнецова, О.Я. Рабина, М.А. Рогинского, А.Б. Гросицкого, В.Г. Вейсберга и Д.М. Краснопевцева. Становится очевидно, что в творчестве представителя официального круга художников, В.Ф. Стожарова, преобладает интерес к выражению национального характера через предметы старорусского быта. Представитель «суровых» А.В. Васнецов передает в натюрмортах атмосферу человеческого тепла домашнего очага, что особенно ценилось в то время. М.А. Рогинский, яркий художник андеграунда, творчество которого не вписывается полностью ни в одно направление, через простые вещи бедного послевоенного быта выражает свое понимание России, в котором нет критики, глумления или восторга, но есть глубокое понимание основ российской жизни. В.Г. Вейсберг и Д.М. Краснопевцев в жанре натюрморта воплотили основные позиции метафизического направления в андеграунде, сосредоточенного на вопросах экзистенциального мироощущения. Таким образом, натюрморт не только возвращается на художественную сцену в качестве отнюдь не «малого жанра», но и оказывается достаточно гибкой формой для выражения различных позиций и проблем своего времени, а простые предметы выступают как их метафоры. The article examines the issue of artists from diverse backgrounds exploring the theme of “simple things” through still life paintings during the 1960s–1970s. Typically, each artistic style is evaluated in isolation from the wider artistic process. However, the author employs still life artwork as a case study to track how the challenges of that period were translated in the work of artists from the official sphere, the austere movement, and various underground movements. Simple things naturally drew attention after almost three decades of thematic painting dominating in Soviet art. In the Thaw period, small genres, where expression of a personal worldview wasn't hampered by larger themes, gained appreciation. This article analyses the approach to still life featuring simple objects by V.F. Stozharov, A.V. Vasnetsov, O.Y. Rabin, M.A. Roginsky, A.B. Grositsky, V.G. Veisberg and D.M. Krasnopevtsev. It is evident that V.F. Stozharov, a member of the official circle of artists, focuses on expressing the national character through Old Russian life objects. A.V. Vasnetsov, on the other hand, conveys the atmosphere of homely warmth in his still lifes, which was highly valued during that era. M.A. Roginsky is an underground artist whose work defies categorization. Through depictions of everyday life in the aftermath of war, Roginsky exhibits a deep understanding of the foundations of Russian society without resorting to criticism, mockery, or excessive enthusiasm. V.G. Veisberg and D.M. Krasnopevtsev embodied the key positions of the metaphysical trend within the underground still life genre, focused on existential worldviews. This demonstrates how still life not only resurfaces as an important artistic genre but also proves to be a diverse enough form to express a range of positions and issues in its contemporary era, with everyday objects acting as their metaphors.
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Stoicescu, Andreea. "Sacred Art Between Tradition and Personal Expression: The Orthodox Icon and Artistical Transgressions of the Canon." Diakrisis Yearbook of Theology and Philosophy 4 (May 31, 2021): 61–78. http://dx.doi.org/10.24193/diakrisis.2021.5.
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The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my argumentation. Hence, my appeal to authors like Lucian Blaga, Leonid Uspensky, Martin Heidegger, Paul Evdochimov, and Christos Yannaras. The point of departure for my study is the powerful and unavoidable conflict between the need for personal artistic interpretations of religious themes – expressed through contemporary artistic techniques and the application of contemporary metaphysical modelings – and the need for attaching oneself to an ‘authentic’ tradition of religious experience and to a community with deep roots in history. My all-round thesis is that this conflict cannot be, at least, clarified by choosing, from the artistic point of view, between two extremes: contemporary secular art on the one hand, and sacred, canonical art on the other hand, but by finding conceptual common pathways.
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Emilia, C. "Art therapy with children surviving cancer used to relieve symptoms associated with death, loss and pain." European Psychiatry 64, S1 (April 2021): S682—S683. http://dx.doi.org/10.1192/j.eurpsy.2021.1809.
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IntroductionSince dying is inevitable, it is part of life, children need to be able to deal with the feelings and emotions associated withs death, loss and pain. When the grieven child move among the art modalities, he or she is able to deepen understaning of his or her lived experiences.ObjectivesOur aim is to uncover these new perspectives and sources of inspiration in order to advance in defining the importance of resilience in personal development.MethodsWe made use of the following techniques: ceramic, drawing, modeling, painting, assemblage of unconventional materials, multimedia techniques, animation. Performing artworks, artefacts, or using craft arts are test activities for art therapy and occupational therapy. „…Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. The most suitable territory for this partnership is that of the physical and metaphysical environment, provided by the installationist and shareholder arts.” [2] A medical project was transformed into an artistic project [4]ResultsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.ConclusionsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.DisclosureREFERENCES [1] Drăgan-Chirilă, Diana.(24-26.05 2018), Associate Professor Ph.D., University of Art and Design Cluj-Napoca, Romania, visual artist, Coordinator of the multimedia installation “Diagnostique” new media and multimedia performance instal
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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.
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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
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Berehovska, H. "William Kurelek’s “Multicultu-ralism”: author’s creative method." Culture of Ukraine, no. 72 (June 23, 2021): 176–82. http://dx.doi.org/10.31516/2410-5325.072.25.
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The purpose of the study — to analyze the phenomenon of the author’s style “multiculturalism” in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author’s artistic technique.
The methodology. Symbolic-metaphysical and philosophical aspects of the artist’s work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective.
The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author’s creative method “multiculturalism”.
The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals.
The conclusions. The author’s creative method “multiculturalism” of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work.
From childhood, from his first emigrant grandparents, and later from his own experience of “dual” identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author’s style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the “multiplication” and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of “Frenchman”, “Irishman”, “Pole”, but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking.
The unique artistic author’s “mixed” technique obtained by long-term experiments and the influence of Nikolaides’ artistic method on the compositional structure of W. Kurelek’s work are also analyzed.
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Niu, Xuebiao. "WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 22–38. http://dx.doi.org/10.36340/2071-6818-2023-19-3-22-38.
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This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.
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Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.
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By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.
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Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.
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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.
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Ushakova, Olga M. "Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s." Literature of the Americas, no. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.
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The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary Wagnerianism Eliot assimilated the ideas of revolutionary art, anti-bourgeois pathos, ideas of synthesis of arts, indivisibility of poetry and music, mythopoesis, etc. The poetry of the 1910–20s reflected Eliot’s interest in a wide cultural context (Wagnerianism and “Wagnerovschina”), Neo-Mythologism, etc. The poetry of this period is characterized by representation of Wagnerian “situations” and plots (the Grail plot), themes, composition strategies (system of leitmotifs, multi-layered text, etc.), music techniques (atonality, “endless melody”, suggestiveness, etc.), the direct quotations from Wagner’s works, etc. The author of the paper suggests that The Waste Land was created as a Gesamtkunstwerk, a complex multi-level poetic intermedial structure incorporating the elements of different arts (music, painting, scenography, dance, etc.).
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.
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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).
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Sabadash, Ju. "ITALIAN MODEL OF POSTMODERNISM (BASED ON GIORGIO FALETTI’S WORKS)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 20 (2020): 87–94. http://dx.doi.org/10.34079/2226-2830-2020-10-20-87-94.
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The article presents the vital and creative path of the famous Italian writer Giorgio Faletti, who successfully transformed the foundations of European postmodernism into the context of national traditions. There has been reproduced the specifics of the Italian cultural space in the article, where for a century both literature and other forms of art went through complex and contradictory path: from the “verism” by J. Vergi, “futurism”, “metaphysical painting”, “neorealism” to “intellectual irony” by Umberto Eco. There has been analyzed the fundamental principles of postmodernism, in the context of which Giorgio Faletti’s literary works, on the one hand, inherit the requirements of European postmodernism, and on the other hand, are marked by the originality of the Italian historical and cultural movement. The topicality of the article is determined by the personality of G. Faletti, because of, on the one hand, which is interesting in itself, a prominent place he occupies in the European culture of the late XX – early XXI century, and on the other hand, his creative activity, the analysis of which, allows us to represent more fully the cultural processes which take place on the Italian territory. In the context of this topicality, the purpose of the article is to consider, first of all, the literary heritage by G. Faletti, which organically “fits” the developing trends of European “postmodernism” as an independent Italian model. In our opinion, to perform an objective analysis of the creative heritage by G. Faletti with an emphasis on its literary component, it is necessary to make several research procedures, namely: 1) to determine the cornerstones of aesthetic and art criticism modification of postmodernism; 2) to reproduce the Italian artistic experience that was accumulated during the twentieth century and – in one way or another – influenced the formation of Faletti’s artistic tastes and creative orientation; 3) to show how the traditions of Italian literary creativity and the requirements of postmodern aesthetics intersect both in the writer’s worldview and in his professional techniques. Today, it is well known that the logic of the development of European humanistics, starting from the mid-70s of the last century, has included a wide range of issues related to both the philosophical understanding of postmodernism and the definition of its influence on the fundamental changes that took place in the practice of developing – in fact – all types of art. As for the philosophical analysis and assessment of postmodernism, it was presented in the Ukrainian open spaces both in the philosophical discourse itself and in the aesthetic and art history. Being based on the material we have reconstructed, it can be stated that postmodernism quite naturally began to establish itself in the Italian cultural space at first cautiously, and then more and more confidently. Now, this obliges us to present the literary works by G. Faletti holistically in the future, as well as not finally depleted analysis of aesthetic and art history factors that confirm him as a postmodern writer.
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Kelly, Emma. "Mainmast Speaks: The paintings of Pauline Thompson." Back Story Journal of New Zealand Art, Media & Design History, no. 8 (December 1, 2020): 49–68. http://dx.doi.org/10.24135/backstory.vi8.57.
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This paper explores the work of Pauline Thompson (1942-2012), an Auckland based artist who painted throughout her adult life. Although she received local critical acclaim for her work in a ‘Pop Art Idiom’ in the 1960s, as Pauline’s work shifted to a more ‘metaphysical’ style she arguably became less fashionable. This paper considers the reception of her work by art critics, the context in which she was creating her work, and the general discourse of art critics in Aotearoa over the period of her career. Pauline’s own writings and discourse on her practice are interpolated into the discussion. This paper was first presented at the conference of PHANZA (Professional Historians Aotearoa New Zealand Association) in 2019, and following feedback, has been developed into this article. The author knew Pauline Thompson personally, and interweaves informal discussions she had with the painter into this narrative.
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Иванченко, Светлана Анатольевна. "On Some Features of M. A. Voloshin’s Color Picture of the World and the Means of its Verbalization." Tomsk state pedagogical university bulletin, no. 1(225) (January 30, 2023): 95–102. http://dx.doi.org/10.23951/1609-624x-2023-1-95-102.
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Особый интерес М. Волошина к цветонаименованиям вызван как особенностью эпохи (Серебряный век), так и его увлечением не только поэтическим словом, но и в равной степени изобразительным творчеством. Цветовая картина мира стихотворений М. Волошина отличается многообразием колорем, передающих оттенки того или иного цвета, и необычностью создаваемых цветообразов, в которых обнаруживаются особенности восприятия автором мира. В статье приводятся результаты исследования семантики и символического значения частотных колорем, встречающихся в лирических текстах М. Волошина, данные анализа отдельных стихотворений, содержащих цветовую символику, для определения роли цветописи в понимании мировосприятия поэта и особенностей его творческой манеры. В ходе исследования использованы методы семантико-стилистического, контекстологического, мотивного анализа, позволяющие раскрыть особенности воплощения и значение цветовой картины мира М. Волошина. Многообразие цветового воплощения в лирике М. А. Волошина связано с особенностью мироощущения Волошина-художника, давшего себе установку «все формы, все цвета вобрать в себя глазами». Кроме того, на многоцветье его поэзии оказала влияние увлеченность поэта символистскими и импрессионистскими учениями. Цветопись, являясь одним из основных средств выражения авторских интенций, помогает передать тончайшие цветовые оттенки и символику в отражении чувств лирического героя. Наиболее частотные цвета, используемые М. Волошиным: красный в его многочисленных вариациях, золотой, серый, лиловый – часто содержат метафизическую символику. Для передачи цвета М. Волошин использует и лексемы, обозначающие растения (цветы), а также минералогические обозначения. Исследование лирических текстов М. Волошина с точки зрения использования в них колорем позволило сделать вывод о том, что цветовая картина мира поэта отличается богатством и разнообразием воплощений: красочные эпитеты, необычные метафоры, сравнения, синестетические образы, минералогические обозначения – это неполный список используемых автором средств и приемов. Значимость проведенного исследования заключается в отражении авторского мировосприятия через постижение заложенных в цветонаименованиях символических значений изображаемого. M. Voloshin’s special interest in color naming is caused both by the peculiarity of the era (Silver Age), and his passion not only for the poetic word, but also, equally, for fine art. The color picture of the world of M. Voloshin’s poems is distinguished by a variety of colors that convey shades of one color or another, and the unusualness of the created color images, in which the features of the author’s perception of the world are revealed. The article presents data on the study of the semantics and symbolic meaning of frequency colors found in the lyrical texts of M. Voloshin, data on the analysis of individual poems containing color symbolism in order to determine the meaning of color painting for understanding the poet’s worldview and the features of his creative manner. In the course of the study, methods of semantic-stylistic, contextological, and motive analysis were used, which make it possible to reveal the features of the embodiment and the meaning of M. Voloshin’s color picture of the world. The variety of color embodiment of the lyrics of M. A. Voloshin is associated with the peculiarity of the worldview of Voloshin the artist, who gave himself the attitude “to absorb all forms, all colors into oneself with the eyes”. In addition, the poet’s passion for Symbolist and Impressionist teachings influenced the multicoloredness of his poetry. Color painting, being one of the main means of expressing the author’s intentions, helps to convey the subtlest color shades and the symbolism of the feelings of the lyrical hero. The most frequent colors used by M. Voloshin: red in its many variations, gold, gray, purple – often contain metaphysical symbolism. To convey color, M. Voloshin also uses lexemes denoting plants (flowers), as well as mineralogical designations. The study of M. Voloshin’s lyrical tests for the use of color in them led to the conclusion that the color picture of the poet’s world is rich and diverse incarnations: colorful epithets, unusual metaphors, comparisons, synesthetic images, mineralogical designations – an incomplete list of the means and techniques used by the author. The significance of the conducted research lies in the reflection of the author’s worldview through the comprehension of the symbolic meanings of the image embedded in the color names.
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Weir, Simon, and Jason Anthony Dibbs. "The Ontographic Turn: From Cubism to the Surrealist Object." Open Philosophy 2, no. 1 (September 18, 2019): 384–98. http://dx.doi.org/10.1515/opphil-2019-0026.
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AbstractThe practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.
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Чимитов, В. Н. "Grotesque metamorphoses of the motif of ancient Russian architecture in the work of N.D. Gritsiuk." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 216–25. http://dx.doi.org/10.46748/arteuras.2022.03.018.
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В статье исследуется процесс формирования гротескной образности в творчестве новосибирского художника Н.Д. Грицюка (1922–1976) на примере трансформации мотива древнерусской архитектуры в серии «Фантазии и интерпретации». Источником возникновения гротескных композиций являются каракули и «почеркушки» из путевых альбомов художника, созданные по принципу автоматического письма из фрагментов древнерусской архитектуры, силуэтов дымковской игрушки и частей человеческого тела. В процессе творческих поисков эти комбинированные «гротески» органично трансформируются в самостоятельные карнавальные композиции, отражающие отстраненное ироничное отношение автора к фольклорным мотивам и сюжетам. В композициях рубежа 1960–1970-х гг. при сохранении гротескной образности ирония сменяется тревожной интонацией неопределенности. Помещенные в беспокойное цветонасыщенное пространство храмы превращаются в деформированные и разъятые антропоморфные образы-гибриды, в которых отражаются экзистенциональные переживания художника. Реальность становится для Грицюка неоднозначной и зыбкой и рассматривается им под углом абсурда и фантасмагоричных допущений. Возникновение трагического столпотворения, ассоциативно считываемого зрителем как символ предвестия конца света, свидетельствует о размышлениях художника над проявлениями духовного, трансцендентного. Духовная и одновременно абсурдистская проблематика гибридных образов сближает поиски Грицюка, с одной стороны, с метафизической живописью М.М. Шварцмана и Э.А. Штейнберга, а с другой — с гротескным искусством скульпторов Э.И. Неизвестного и В.А. Сидура. Таким образом, в условиях доминирующего реалистического дискурса гротеск как прием позволил новосибирскому художнику погрузиться в символическое пространство свободного самовыражения и соприкоснуться с миром трансцендентного. The article examines the process of formation of grotesque imagery in the work of the Novosibirsk artist N.D. Gritsiuk (1922–1976) on the example of the transformation of the motif of ancient Russian architecture in the series “Fantasies and interpretationsˮ. The source of the grotesque compositions are scribbles from the artist’s travel albums, created on the principle of automatic writing from fragments of ancient Russian architecture, silhouettes of a Dymkovo toy and parts of the human body. In the process of creative searches, these combined grotesques organically transform into independent carnival compositions, reflecting the author has detached ironic attitude to folklore motifs and plots. In the compositions of the turn of the 1960s and 1970s, while maintaining the grotesque imagery, irony is replaced by an alarming intonation of uncertainty. Placed in a restless, colour saturated space, the temples turn into deformed and disjointed anthropomorphic hybrid images, which reflect the existential experiences of the artist. Reality becomes ambiguous and unsteady for Gritsiuk, and he considers it from the angle of absurdity and phantasmagorical assumptions. The emergence of a tragic pandemonium, associatively read by the viewer as a symbol of the doomsday, testifies to the artist's reflections on the manifestations of the spiritual, the transcendent. The spiritual and at the same time absurdist problematic of hybrid images brings Gritsiukʼs search, on the one hand, to the metaphysical painting of M.M. Shvartsman and E.A. Steinberg, and on the other hand, to the grotesque art of the sculptors E.I. Neizvestny and V.A. Sidur. Thus, in the conditions of the dominant realistic discourse, the grotesque as a technique allowed the Novosibirsk artist to immerse himself in the symbolic space of free self-expression and come into contact with the world of the transcendent.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Merjian, Ara H. "Giorgio de Chirico's ‘Jewish Hour’: Metaphysical Painting in Ferrara, 1915-18." Art History 41, no. 5 (October 26, 2018): 922–57. http://dx.doi.org/10.1111/1467-8365.12403.
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Dudareva, Marianna A. ""Digital turn" in art and the problem of entelechy of modern poetry." Revista Amazonia Investiga 11, no. 53 (July 4, 2022): 348–52. http://dx.doi.org/10.34069/ai/2022.53.05.34.
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This article is devoted to two processes in modern society - digitalization and apophaticization. We are witnessing a “digital turn” in contemporary art, which leads to its massization and makes it more accessible, but at the same time, a person becomes metaphysically detached, cannot penetrate the aura of art, feel it metaphysically, which leads to the desacralization of great works of painting and literature. However, literature exists in a large dialogue of cultures, it contains the entelechial principle, that is, the meanings and codes of other eras and cultures. In the center of the research is the problem of the entelechy of culture, which requires axiological and ontological study. It is the entelechial principle in culture that makes it possible to withstand the onslaught of digitalization and technocratization. Research methodology: a holistic analysis of a literary text in the ontohermeneutic way with the use of a semantic research method. An otnohermeneutic analysis of a literary work, the poetic book "Tyutchev's Swans" by the Russian poet A. Shatskov, allows us to understand how entelechy manifests itself in modern culture.
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Cany, B. "Paul Gauguin, Philosopher and Musician of color (Translated from French by: Alexander Tchikine)." Russian Journal of Philosophical Sciences, no. 9 (December 20, 2018): 129–44. http://dx.doi.org/10.30727/0235-1188-2018-9-129-144.
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At the heart of the dialog between the art piece and the world, the artist works at communicating his sensations. For Gauguin, this work involves a self-claimed philosophical bent, as he considers his paintings as the result of a philosophical refoundation of color. His idea is that the artist’s sensations don’t stem from his contact with the empirical world but rather with the metaphysical one. This is due to the fact that the painter competes with nature: his imitation is inventive (no matching with the original) and his truth is creative (true to his subjective perception). An artist-philosopher, who is also a thinking subject, thus reasserts the pragmatic necessity of the perception. Being diverse, the color is an instrument by which the artist expresses his thinking (he reveals his metaphysical sensations and offers them to the receptor). There is an arrangement that reveals the inner musical harmony of things and beings – by which the painter thinks out from words, within the symphony of pure colors.
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Kim, Najung. "Horse Language and Improvised Memorials: Gong Kai's Equine Paintings and Song Loyalism." Journal of Chinese Literature and Culture 10, no. 2 (November 1, 2023): 336–78. http://dx.doi.org/10.1215/23290048-10767856.
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Abstract The loyalist painter Gong Kai (1222–1307) utilized the historical literary trope of the ji 驥 horse, the fine steed capable of covering one thousand li in a day, as an essential part of his artistic rhetoric in response to the violent Song-Yuan dynastic turn. Drawing literary forebears of Gong's equine art into the field of investigation reveals the mechanics of his utilization of the equine trope and his stance within the broad spectrum of Song loyalism. Standing against passive sympathizers of the loyalist cause, Gong embraced the poetics of Daoxue (Learning of the Way) to uphold moral rigor and masculine heroics, couched metaphorically in the suffering ji horse, which was at once physiognomically ideal and metaphysically meaningful. The polysemy and ambiguity of Gong's art invited his colleagues to interiorize equine imagery, thus helping reconstitute an ideal moral image of themselves. Gong's equine art brought forth interactive responses from its viewers and thus served as an improvised memorial to Song loyalists, both living and deceased.
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Bohdziewicz, Janusz. "Transfiguracja – Piękna złośnica Jacques’a Rivette’a w świetle mimo-sekularnej myśli o filmie i mediach światłowodowych." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (December 15, 2021): 95–118. http://dx.doi.org/10.14746/i.2021.39.05.
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The essay is an interpretation of the film by Jacques Rivette La Belle Noiseuse (1991) within the context of post-secular studies. The sketch is inspired primarily by the writings of Martin Heidegger and Jean-Luc Nancy, and it also corresponds with the Bible and biblical studies. The author describes the creative process shown in the film as an act of salvation which occurs between the painter and his model. The hiding of the resulting image is understood here in relation to the passion, cross and burial of Jesus which brings the hope for a liberated life and “the new creation”. The film is made in a very consistent way, which opens up the perspective of crossing the world of images, paintings and classical films (the world of stage), towards the art of mutual respect (the world of interface). Rivette’s work contains a multitude of relevant observations and indications regarding psychology, religion and culture, but it also reveals the possibility of a new way of thinking about film and the media, close to Nancy’s post-metaphysical thought.
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Matsan, Konstantin M. "Apologetics in V.N. Ilyin’s Works on Aesthetics." Almanac “Essays on Conservatism” 64 (June 30, 2021): 335–43. http://dx.doi.org/10.24030/24092517-2021-0-2-335-343.
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In the article the author tries to view the works of Russian philosopher V.N. Ilyin on aesthetics as apologetic. Ilyin’s philosophic system that he himself termed as general morphology is based on such categories as “form”, “image” and “icon” as key elements, and thus it has obvious aesthetic dimension. General metaphysical principles stated in Ilyin’s theoretic and philosophic works that were not published in his lifetime, were reflected in his publicistic works – on aesthetics and liturgics. According to Ilyin, “form” is something by way of which the invisible ousia (essence) of the thing manifests itself on the surface – the phenomenon of invisible in visible image. For Ilyin the illustration of that principle was icon-painting. Ilyin also called his morphological system materologism – the doctrine on Logos running through the substance. Through the prism of this statement Ilyin views the phenomenon of bell-ringing, the “metaphysical task” of which was in “spiritualization of inorganic substance”, in that case – metal. An important part in Ilyin’s morphology was the metaphysics of light: light was something that allowed initially to discern forms and was the prerequisite for beauty and for admiring the beautiful. The appeal to beauty as something that was perceived directly in inner experience and lead the thought out of the limits of abstract logical construct, according to Ilyin, was part of the ontological argument of the divine being. Not only it contained the logically necessary conclusion of the divine being as the Absolute, but also included as a condition the “fact and act” of the man’s personal religious experience, – the experience of the direct perception of the divine reality in prayer and in church service, that, in its turn, was connected with the perception of the beauty of liturgical forms and with the cult as the phenomenon of the Absolute in circumstantial. This is the reason of the importance of the works on aesthetics and liturgics of Ilyin as an apologist.
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Levina, Tat’yana V. "“OVERBOARD FROM ABSOLUTE”. THE CRITIQUE OF KANT IN AVANT-GARDE’S EPOCH." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2021): 36–53. http://dx.doi.org/10.28995/2073-6401-2021-1-36-53.
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In his treatise on Suprematism, Kazimir Malevich criticises transcendentalism and contrasts it with transcendence. Malevich is critical of the transcendental paradigm, as he essentially turns out to be a platonist. Pavel Florensky also criticizes transcendentalism – that precedes Malevich in time. Florensky views Kant as rooted in a “human” perspective and matches him with Plato. Florensky’s proposal, like Malevich’s later, is to return the transcendent. By comparing Florensky’s work on aesthetics and Malevich’s theory of new art, one sees that both authors criticize the illusionistic character of perspective and European painting. Florensky continued the concept of “reverse perspective” in iconography. Malevich argued that his fellows felt a close connection to the icon. It is also known that both Florensky and Malevich taught at art institutes (GINHUK and VKhUTEMAS) and worked to protect cultural heritage. In the theoretical works on metaphysics and art, the positions of Malevich and Florensky converge, as both were platonic. Thus, it is important to compare these figures in their different guises in order to identify the features of the revolutionary era
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TRIMINGHAM, MELISSA. "Oskar Schlemmer's Research Practice at the Dessau Bauhaus." Theatre Research International 29, no. 2 (July 2004): 128–42. http://dx.doi.org/10.1017/s0307883304000288.
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In Germany in the 1920s, Oskar Schlemmer engaged in three years of practical research at the Dessau Bauhaus School of Art, on the nature of ‘non-naturalisitic’ or ‘abstract’ stage space, that is, space exploited theatrically for its dynamism, scale, texture and sonic properties. It is argued here that Schlemmer attempts to recreate on stage the metaphysically resonant spaces which he depicts in his paintings. By engaging with an embodied art form, performance, Schlemmer defies the commonly held assumption that the Bauhaus Stage is locked into the ‘machine age’ mentality and rigid Modernist essentialism. On the contrary Schlemmer's work is revelatory of stage space in direct, simple and phenomenologically intense ways and has much to teach us about the nature of theatrical power in postmodern visual and object theatre, and is better interpreted in the light of postmodern, rather than Modernist, sensibilities.
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Gaynutdinov, Timur Rashidovich. "Blinding and origins of a painting." Философия и культура, no. 7 (July 2020): 1–9. http://dx.doi.org/10.7256/2454-0757.2020.7.33570.
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The subject of this research is the problem of a painting in Jacques Derrida’s philosophy, namely the so-called “hypothesis of blinding” advanced in his work “Memoirs of the Blind: The Self-Portrait and Other Ruins”: “a painting… and the process of painting must be slightly related to blinding”. Derrida examines this established ontotheological tradition of classical metaphysics: blinding here becomes an essential sacrificial act, a condition that enables transition from physical eye to spiritual. Therefore, Derrida describes it as “sacrificial” economy, inevitably followed by the artist. Each work of the artist is prophecy of a blind person and designates horizons of the future. Explicating the aforementioned hypothesis of J. Derrida, the author refers to not only the text of “Memoirs of the Blind” and the accompanying documental narrative but also attempts to reconstruct the eponymous exhibition held the Louvre Palace in 1990, coordinated by Derrida. Comparison of these three layers provided better understanding “hypothesis of blinding”, and allowed inscribing to a more general philosophical context of deconstruction, as well as reconsidering the problems of figurative, mimetic and representative nature of a painting. The author comes ti the conclusion that essence of a painting is no way related with the visible, but its origin takes roots purely from memory.
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Borgers, Kathrin. "Recto and Verso: The Pictorial Fronts and the Marbled Reverses of Two Flemish Panel Paintings." Arts 11, no. 1 (January 3, 2022): 10. http://dx.doi.org/10.3390/arts11010010.
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From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples.
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Kozakowska-Zaucha, Urszula. "Jacek Malczewski’s picturesque story." Trimarium 1, no. 1 (April 24, 2023): 360–71. http://dx.doi.org/10.55159/tri.2023.0101.15.
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Jacek Malczewski was a painter who, in his monumental artistic output, left works revolving around the problems of homeland, freedom and lost identity, life and death, spanning between romantic visions and metaphysics. He was inspired by the art of antiquity, Polish Romanticism, but also tapped into folklore, complicating the meaning of his paintings with symbolism that was not always easy to understand. It was a multi-layered oeuvre, a testament to his great erudition, but also to the imagination and sensitivity of a refined humanist. In his paintings, he also asked about the essence of being an artist, the artist’s responsibility, and was interested in the problem of whether artists are really only masters of themselves, or whether they have a responsibility for the artistic tasks they take on. During the seventy-five years of the artist’s life, the history of Europe and Poland changed profoundly. His creative personality was mainly influenced by Poland’s loss of independence which entailed an identity crisis. Throughout his artistic path, Malczewski subscribed to the inherent mission of art to build national identity through creative exploration of various myths. He illustrated the dream of freedom and independence, showed the suffering of the nation and its sacrifice, and recalled the idea of the homeland which was to be both a homeland, a home, but also the foundation of national culture.
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Merjian, Ara H. "A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier." Word & Image 37, no. 2 (April 3, 2021): 178–91. http://dx.doi.org/10.1080/02666286.2020.1866976.
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Mushaandja, Nashilongweshipwe. "Speculative Cartographies." African Diaspora 15, no. 1 (June 13, 2023): 55–76. http://dx.doi.org/10.1163/18725465-bja10035.
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Abstract There are far too few studies on Namibian art and artists in the diaspora. In response to this, I look at the work of Herman Mbamba, Jackson Wahengo and Shishani Vranckx. Mbamba is a visual artist based in Haugesund, Norway while musicians Wahengo and Vranckx are based in Copenhagen, Denmark and Amsterdam, The Netherlands, respectively. I offer an aesthetic reading, unpacking their work as counter-hegemonic maps, that signal the places of imagining otherwise. Wahengo and Vranckx’s songs lean towards national cultural memory while Mbamba’s abstract and figurative paintings conceal everyday realities. The concept of speculative cartography is applied, to read how these artists as African Diasporic subjects, speak to historic displacements and scatterings, while orientating themselves within national cultural memory that goes beyond ‘Namibianess’ or the African Diaspora. I argue that the speculative cartographies generate Thirdspaces that collapse binaries between settled and unsettled, imaginable and unimaginable, material and metaphysical spaces.
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Lychkovakh, V. A. "PHILOSOPHY OF ETHNOCULTURE – ЕТНNОCULTUROLOGY – ЕТНNОCULTUROGRAPHY." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 20–25. http://dx.doi.org/10.17721/ucs.2018.1(2).04.
Full textAbstract:
The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and values of ethnoculture are represented in a figuratively-artistic form. The methodological value of philosophy of ethnoculture is revealed for the construction of conceptual paradigms and conceptual tools of ethnoculturology and culturological regional studies. The concept of ethnoculturography as representation of ethnoculture in artistic images of literature and art is entered in modern sciences about the culture for the first time. In particular, ethnographic approach to artistic creativity is analyzed on the examples of painting of well known Ukrainian artists Olha Petrova and Anatolii Furlet. The author understands ethnoculturology as synthesis of scientific artistic reflection that combines knowledge of ethnocultures with their pictorial reproduction by means of artistic and aesthetical facilities. For instance, ethnoculturography in painting requires a special type of discourse, where metaphysics, aesthetics, semiotics and chronotopes of the region are crossed with artistic vision, individual practice of the artist. In works of Anatolii Furlet it is manifested through artistic restoration of the mystic world of ancestors connected with "A Stone Grave" near Melitopol − one of the oldest monuments of world and national culture. For ethnoculturology of Olha Petrova the "spirit of nation" in its multicultural measurements was presented at the exhibition "Other Shores". Five "shores" of spiritual oecumene of the artist (France, Spain, Ukraine, Arabic East, Japan) outline ethnic horizons of her real and virtual travels in space and time of Eurasian cultures. Consequently, ethnoculturology practically becomes an original guide-book, a road sign (vade mecum) in the world of ethnocultures.