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Books on the topic 'Metaphysical painting'

Author: Grafiati

Published: 28 September 2024

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1

Paolo, Fossati. La " pittura metafisica". Torino: G. Einaudi, 1988.

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2

Montalto, Domenico, and Francesco Cancelliere, eds. Il mago ascolta. Messina, Italy: Galleria Francocancelliere, 2004.

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3

Italy), Palazzo Ziino (Palermo, ed. Giorgio De Chirico: Miti, enigmi, inquietudini : Palermo, Palazzo Ziino, 25 ottobre 2002-6 gennaio 2003. Palermo: Edizioni ADA, 2002.

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4

Dulbecco, Gian Paolo. Gian Paolo Dulbecco: I dipinti. Bologna, Italy: Paracelso arte contemporanea, 2000.

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5

Grenoble, Musée de, ed. L' art italien et la metafisica: Le temps de la mélancolie, 1912-1935. Arles: Actes sud, 2005.

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6

1888-1978, De Chirico Giorgio, and Blu palazzo d'arte e cultura (Pisa, Italy), eds. Giorgio de Chirico e la metafisica. Milano: Skira, 2020.

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7

Patrikalakēs, Phaidōn. To realistiko, to erōtiko, kai to hypervatiko stē zōgraphikē. [Athens]: Aigokerōs, 1988.

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8

Baldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus: Uno sguardo nell'invisibile. Firenze: Mandragora, 2010.

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9

Guarienti, Carlo. Carlo Guarienti: Opere recenti. Milano: Electa, 1997.

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10

Guarienti, Carlo. Carlo Guarienti: Opere 1946-1994. Milano: Charta, 1994.

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11

Guarienti, Carlo. Carlo Guarienti. Milan: Arnoldo Mondadori, 1988.

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12

Guarienti, Carlo. Carlo Guarienti. Milano: Charta, 2000.

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13

Guarienti, Carlo. Carlo Guarienti. Milano: Arnoldo Mondadori, 1988.

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14

Waldberg, Michel. Sam Francis: Metaphysics of the void. [S.l.]: Moos Book Pub. Ltd., 1987.

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15

Gerd, Roos, Galerie Andrea Caratsch, and Galerie Michael Haas, eds. Giorgio de Chirico: A metaphysical journey : paintings 1909-1973. Köln: König, 2008.

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16

Konsthall, Malmö, and Pohjoismainen Taidekeskus, eds. Borealis 3: "Måleriet och det metafysiska landskapet" är ett project i samarbete mellan Nordiskt Konstcentrum och Malmö Konstall = "Painting and the Metaphysical Landscape" is a joint project between Nordic Arts Centre and Malmö Konsthall. Malmö: Malmö Konsthall, 1987.

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17

Meyers, Elizabeth Louise. Eternal return: Friedrich Nietzsche's theory of universal history and Giorgio de Chirico's metaphysical paintings. Morris, N.Y: Welshstone, 1998.

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18

Giorgio, De Chirico. Giorgio De Chirico: Ritratti, figure e manichini fino alla Nuova Metafisica. 2nd ed. Venezia: Cicero, 2001.

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19

1888-, De Chirico Giorgio, Calarota Franco, Calarota Roberta, and Galleria maggiore (Bologna Italy), eds. Metafisico primo il grande: Giorgio De Chirico e qualche amico pittore : Soffici, De Pisis, Carrà, Morandi, Rosai. Bologna: G.A.M., Galleria d'arte maggiore, 2004.

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20

Gerd, Roos, Galerie Michael Haas, and Galerie Andrea Caratsch, eds. Giorgio de Chirico: Self-portraits. Zürich: Galerie Andrea Caratsch, 2012.

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21

1888-1978, De Chirico Giorgio, ed. Giorgio de Chirico: Catalogo ragionato. Torino: Allemandi, 2019.

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22

Fondazione Giorgio e Isa de Chirico, ed. Giorgio de Chirico: Catalogo generale. [San Marino]: Maretti editore, 2014.

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23

1888-, De Chirico Giorgio, Fagiolo Dell'Arco Maurizio 1939-, and Baldacci Paolo, eds. Giorgio de Chirico: I temi della metafisica. Milano: A. Mondadori, 1985.

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24

Giovanni, Gazzaneo, Pontiggia Elena, and Museo Palazzo de' Mayo (Chieti, Italy), eds. Giorgio de Chirico: L'Apocalisse e la luce. Cinisello Balsamo, Milano: Silvana, 2012.

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25

Giovanni, Gazzaneo, and Pontiggia Elena, eds. Giorgio de Chirico: Catalogo ragionato dell'opera sacra. Cinisello Balsamo, Milano: Silvana, 2012.

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26

Mario, Ursino, ed. Giorgio de Chirico: L'uomo, l'artista, il polemico : guida alle interviste, 1938- 1978. Roma: Gangemi, 2012.

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27

Wayland, Carolyn. Painting the Cosmos: A Metaphysical Universe. Fohat Productions, 2021.

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28

Painting the Cosmos: A Metaphysical Universe. Fohat Productions, 2021.

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29

Tholozan, Florence. Chinese Woman from the Painting. Harvard Square Editions, Limited, 2022.

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30

Tholozan, Florence. Chinese Woman from the Painting. Harvard Square Editions, Limited, 2022.

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31

Edward Burne-Jones on Nature: Physical and Metaphysical Realms. Cambridge Scholars Publishing, 2021.

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32

Edward Burne-Jones on Nature: Physical and Metaphysical Realms. Cambridge Scholars Publishing, 2024.

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33

The New metaphysical dream: [exhibition] Jack Shainman Gallery, New York/Washington, September 1986. Roma, Italy: De Luca, 1986.

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34

Art tastings: Mythological, symbolic, spiritual and metaphysical wine culture in Rome's public collections. Rome: Gebart, 2003.

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35

Gian Paolo Dulbecco: Antologia della pittura. Napoli, Italy: Edizioni Scientifiche Italiane, 2016.

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36

Giorgio De Chirico: Interno metafisico (Nature morte) : luglio-agosto 1933, già Collezione Emilio e Maria Jesi, Milano. Milano: Scalpendi, 2011.

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37

Rudd, Anthony. Painting and Presence. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.001.0001.

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Abstract This book is concerned with why (or whether) paintings have value: why they might be worth creating and attending to. I start from the challenge expressed in Plato’s critique of the arts generally according to which they do not lead us to what is true and good, and may take us away from them. I try to show that this Platonic challenge can be answered in its own terms, that painting is good because it does lead us to truth. What paintings can give us is a non-discursive ‘knowledge by acquaintance’ in which the essence of the painting’s subject matter is made present to the viewer. I trace this understanding of painting as ontologically revelatory from the theology of the Byzantine icon to classical Chinese appreciations of landscape painting, to the work of Merleau-Ponty and other Phenomenologists inspired by European Modernist art. I argue that this account of painting as disclosing the essences of things can also take up what is right about expressive and formalist theories of painting and that it can apply as much to abstract as to representational painting. But disclosing the reality of things can only be of value if the reality disclosed is itself of value, and in the concluding part of the book I argue that the value of painting can only be properly understood in the context of a wider metaphysics or theology in which value is understood not as a human projection but as a basic characteristic of reality as such.

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38

Wolfsdorf, David Conan. On Goodness. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190688509.001.0001.

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On Goodness attempts to answer the question “What is goodness?” It is natural to associate this question with ethics; but goodness is not confined to ethics. Water and wine, a strategy for streamlining maintenance operations, and an oil painting may all be good and in non-ethical ways. Goodness figures prominently in ethics; so the study serves ethics. But it serves other domains as well. On Goodness is a contribution to the foundations of value theory. It is also a metaphysical inquiry, for two reasons. As the examples indicate, the entity under investigation is extremely general. Goodness occurs in potables, plans, and paintings, among countless other kinds of things. Second, it is particularly obscure what sort of being the entity is. Besides the description “good,” is there a single thing that good drinks, strategies, and artworks share? Is their goodness related in a more complex way? And regardless of these relations, in any instance, just what is that goodness? The question “What is goodness?” has been central to philosophy since Socrates and Plato made it their polestar. The distinctive contribution of On Goodness lies in its methodology. The method of pursuing the metaphysical question is linguistic. The basic proposal is that achieving the answer depends on clarifying the meaning and use of the words “good” and “goodness.” Consequently, the study is pervasively informed by and critically engaged with contemporary linguistic theories and ideas.

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39

Guarienti, Carlo, and Jean Leymarie. Guarienti 1942-2000. Charta, 2000.

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40

De Chirico, Max Ernst, Magritte, Balthus: A look into the invisible. Firenze: Mandragora, 2010.

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41

Field, George, and Martin M‘Dermot. Aesthetics, Or The Analogy Of The Sensible Sciences Indicated. Thoemmes Continuum, 2003. http://dx.doi.org/10.5040/9781350276314.

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Aesthetics, established as an independent philosophical discipline in the 18th century, was often overlooked in the 19th until such later writers as Bosanquet, Santyana, Collingwood and Wittgenstein helped bring it back into the philosophical mainstream. Yet the 19th century saw a tremendous upsurge in periodical and literary publishing, the rise and influence of Romanticism, the invention of photography, the beginnings of mass tourism and its consequential enthusiasms for domestic and foreign landscape, painting, architecture, music and the plastic arts. All these developments had a profound effect on aesthetic thinking. George Field’s overlooked text from 1820 and Martin M’Dermot’s A Critical Dissertation on the Nature and Principles of Taste from 1823 re-open the doors for fresh discussion, debate and understanding of this neglected period. In Aesthetics, Or The Analogy Of The Sensible Science Indicated, George Field introduces an aesthetics as that ‘genus of science which comprehends whatever lies between physical or material and metaphysical or intellectual science”. Taken together they demonstrate the fertility of aesthetic thought that occurred in these times and help bridge the gap in aesthetics understanding between Burke's "Philosophical Enquiry into the Origin of our Ideas the Sublime and the Beautiful" (1757) and the modern period.

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42

Classical Sāṃkhya and yoga: An Indian metaphysics of experience. London: Routledge, 2007.

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43

Giorgio De Chirico: Piazza d'Italia (Souvenir d'Italie II) 1913 (luglio-agosto 1933) : Il più clamoroso sequestro del dopoguerra. Verità processuale e verità storica. Milano: Archivio dell'arte metafisica, 2013.

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44

Giorgio de Chirico: Magische Wirklichkeit. Hirmer Verlag GmbH, 2020.

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45

Pictorial Nominalism: On Marcel Duchamp's Passage from Painting to the Readymade (Theory and History of Literature). Univ Of Minnesota Press, 2005.

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46

Zhongguo shu hua de xuan li yu shen mei. Chengdu: Dian zi ke ji da xue chu ban she, 2019.

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47

Décultot, Élisabeth. Criticism as Poetry? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0009.

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If Laocoon constitutes an attempt to delineate the boundaries of poetry and painting, to what extent can these categories be applied to Lessing’s essay itself? Is Laocoon an exercise in poetry—and what is the relationship between Lessing’s own mode of writing and his theoretical delimitation of poetry? To answer these questions, Elisabeth Décultot turns to a 1755 text that Lessing composed together with Moses Mendelssohn (Pope—a Metaphysician!), a treatise in which both thinkers had tried to delineate the different realms of poetry and philosophy. Décultot argues that there is a close proximity between what Lessing calls ‘poetry’ and the nature of his own critical writing: criticism, at least as Lessing practises it in Laocoon, narrates action in time through the representation of a sequence of readings and debates with Lessing’s contemporaries.

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48

Cooper, John Gilbert, and James Moor. Letters Concerning Taste (And) Essays. Thoemmes Continuum, 2003. http://dx.doi.org/10.5040/9781350276123.

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John Gilbert Cooper was a British poet and writer, and one of the chief contributors to Robert Dodsley’s Museum (1946-7). His Letters Concerning Taste (And) Essays (1754) is considered the first volume on the subject of taste. Written in an epistolary style, the work sets out letters to classical figures such as Euphemius, Philemon, Leonora and Eugenio. Writings about art and creativity can be traced to the texts of classical antiquity, but aesthetics as a separate and systematic area of philosophy is almost wholly a product of the 18th century. It was at that time that philosophers began to treat notions about creativity and our responses to it with a kind of philosophical rigour found in epistemology and metaphysics. 18th-century authors, such as John Gilbert Cooper, sought to define what poetry, literature, painting and sculpture were and to determine the links between the various forms of artistic expression. Like Cooper, many questioned whether artistic sensitivity could be acquired or was innate, asking how good taste was cultivated and maintained.

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49

Porr, Martin, and Oscar Moro Abadía. Ontologies of Rock Art: Images, Relational Approaches, and Indigenous Knowledges. Taylor & Francis Group, 2021.

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50

Porr, Martin, and Oscar Moro Abadía. Ontologies of Rock Art: Images, Relational Approaches, and Indigenous Knowledges. Taylor & Francis Group, 2021.

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