Littérature scientifique sur le sujet « Metaphysical painting / art »
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Articles de revues sur le sujet "Metaphysical painting / art"
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.
Texte intégralKormin, Nikolai Aleksandrovich. « Art and aesthetic structures of metaphysics of color ». Культура и искусство, no 5 (mai 2020) : 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.
Texte intégralTes, Agnieszka. « Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych ». Argument : Biannual Philosophical Journal 9, no 1 (30 juin 2019) : 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
Texte intégralRimpau, 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 (1 juillet 2008) : 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.
Texte intégralRostova, N. N. « Ilya Glazunov : The Sacrificer of the National Spirit ». Orthodoxia, no 4 (29 septembre 2023) : 129–41. http://dx.doi.org/10.53822/2712-9276-2022-4-129-141.
Texte intégralLouria-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.
Texte intégralSakhno, Irina. « The Metaphysics of Presence and the Invisible Traces : Eduard Steinberg’s Polemical Dialogues ». Arts 11, no 5 (9 septembre 2022) : 85. http://dx.doi.org/10.3390/arts11050085.
Texte intégralAgbeshie, Abraham. « Vintage elements : Sourcing an aesthetic inspiration for contemporary Ghanaian painting ». Journal of African Art Education 3, no 1 (29 juin 2023) : 23–47. http://dx.doi.org/10.59739/jaae.v3i1.062302.
Texte intégralFlorkovskaya, 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.
Texte intégralOleynik, Maria. « Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries) ». Ideas and Ideals 14, no 2-2 (27 juin 2022) : 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
Texte intégralThèses sur le sujet "Metaphysical painting / art"
Manganiello, Ilaria. « L'élaboration du concept de "poésie métaphysique" et d' "art métaphysique" chez T.S.Eliot, Eugenio Montale et Giorgio de Chirico ». Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL060.
Texte intégralThis thesis is concerned with reconstructing the movement or literary and artistic avant-garde of the early 20th century called Metaphysical Art through the figures of two poets: T.S. Eliot and Eugenio Montale and a painter: Giorgio de Chirico. The analysis of the philosophy and poetics of the authors in question has allowed us to identify a certain number of elements common to the three authors. This has made possible the reconstruction, or rather, the definition of the aforementioned avant-garde movement, which, in fact, without the present work, would not have found such a definition. Metaphysics as understood by T.S. Eliot, Montale and de Chirico rests, in particular, on the idea of the enigma that underpins reality, an enigma that is metaphysics itself, and on the idea of time as eternal present and eternal recurrence through the resurfacing of myth and literature as timeless voices. Thus, the Waste Land, for example, is the container in which the literary, poetic, mythical voices of other texts resonate, and the timelessness of the metaphysical atmospheres painted by de Chirico, (e.g. the statue of the abandoned Ariadne), represents also a return: the return of the mythical past of the Western culture into the present time
Heins, Barbara. « Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings ». Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.
Texte intégralKouroutaki, Alexandra. « Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro ». Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30057.
Texte intégralThe objective of this work is the study of the artistic process of the surrealist movement and the metaphysical painting in Greece, during the 1930s. In particular, the thesis examines the case of painters Nikos Engonopoulos, Gerassimos Steris, and Georges Gounaro. While examining the artists’ « pictorial idiom », it also seeks to elucidate the influences received from Greek artists by the surrealist movement in France and by the metaphysical aspirations of Giorgio de Chirico’s painting. The method of approach is based on the parallel, performed on two axes, firstly thematic and secondly stylistic. In the first part this work considers the reception of surrealism and the metaphysical painting in Greece, at the time of the inter-war period, which was carried out in adverse conditions. The reasons for the weak expression of Surrealism and its delayed implantation in Greece are attributed to the socio-political context and the imperatives of the time. This surreal and metaphysical creation, freed from the constraints of academic painting, caused a scandal as she approached Greek tradition in an innovative way. In the following sections the research deals with common topics in the pictorial work of Greek artists’, namely the surreal, meta-empirical, and dreamlike pictorial space, as well as painters’ metaphysical visions, the role of the Orphic myth, and finally the presence and the symbolism of historical and mythical human figures which often follow the principle of metamorphosis. In addition this work reveals the originality of this art (topics, drawing and colours used) mainly due to its Greek character. It’s a particular case study of that thoroughly subversive artistic creation, oscillated between Western influences and claims of national and cultural specificity
White, David Allan, of Western Sydney Nepean University et Faculty of Visual and Performing Arts. « From Apollonian to Dionysiac : a paper on Nietzsche's division of culture into two principal strains. The Apollonian and the Dionysian, and its application to the art of painting ». THESIS_FVPA_XXX_White_D.xml, 1996. http://handle.uws.edu.au:8081/1959.7/464.
Texte intégralMaster of Arts (Hons) (Visual Arts)
White, David. « "From Apollonian to Dionysiac" / ». View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.145642/index.html.
Texte intégral"A paper on Nietzsche's division of culture into two principal strains. "The Apollonian and the Dionysiac", and its application to the art of painting.--t.p.
Benson, Martin L. « Beginner's Mind ». ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
Texte intégralAustin, Travis R. « Laminated PAINT ». VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
Texte intégralCaldarola, Elisa. « Pictorial Representation and Abstract Pictures ». Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.
Texte intégralIl mio lavoro si inserisce nell’ambito del dibattito sul concetto di rappresentazione pittorica (RP) e sulla teoria dell’arte pittorica recentemente portato avanti in area analitica. I miei obiettivi principali sono un’esposizione critica dei problemi sollevati dalla tesi secondo cui è la somiglianza agli oggetti dipinti che spiega RP e un’analisi del fenomeno della pittura astratta da un punto di vista analitico. La prima parte è dedicata ad una ricognizione del dibattito analitico su RP, con particolare attenzione ai destini della “teoria della somiglianza”. Nel primo capitolo traccio i contorni delle principali teorie attualmente discusse, nel contesto di un’analisi della letteratura tradizionale sull’argomento, da Platone a Cartesio. La decisione di dare maggiore rilevanza alla teoria della somiglianza rispetto che ad altre teorie su RP è motivata dal fatto che il resto della mia ricerca è dedicato all’analisi e a una proposta di arricchimento di una delle proposte che recentemente hanno riproposto la teoria della somiglianza, benché con alcune importanti modifiche. Si tratta della teoria difesa da John Hyman, che espongo nel secondo capitolo, avendo cura di mostrarne i presupposti e di discutere alcune critiche e obiezioni che le sono state mosse. Il terzo e quarto capitolo sono dedicati all’arricchimento della teoria di Hyman in relazione al fenomeno della pittura astratta. Due sono le peculiarità della teoria di Hyman: primo, è in controtendenza rispetto a tutte le altre attuali proposte sulla RP, perché non ha bisogno di concepire RP come rappresentazione di particolari o di tipi di oggetti che possiamo facilmente identificare; secondo, è una teoria che porta l’arte al centro della discussione filosofica su RP. Hyman, infatti, illustra la sua proposta con numerosi riferimenti alla storia delle arti figurative. La seconda parte di questo lavoro è ispirata dall’idea che la teoria della somiglianza di base di Hyman si possa applicare anche ai dipinti astratti. Lo sviluppo di un’analisi della pittura astratta da un punto di vista analitico è un compito con cui finora si sono misurati pochissimi autori – per quanto ho potuto appurare. Tuttavia, è evidente che gli obiettivi che i pittori di immagini astratte si pongono sono vicini a quelli che si pongono i filosofi quando discutono sulla RP. È opinione diffusa che uno dei temi principali dell’arte contemporanea sia l’arte stessa, e che uno dei temi principali della pittura astratta sia l’arte stessa di dipingere, l’arte di produrre immagini, con i suoi limiti e le sue convenzioni. Motivata da queste considerazioni, ho cercato di dare una prima formulazione alla proposta di una teoria della somiglianza di base della RP applicata ai dipinti astratti. I miei principali riferenti critici sono filosofi come Richard Wollheim, Kendall Walton e Lambert Wiesing, e critici e storici dell’arte come Clement Greenberg ed Ernst Gombrich.
Lin, Li-ching, et 林禮慶. « Mystical language--A study on the style of painting in Metaphysical Art ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54119245042989145556.
Texte intégral南華大學
美學與視覺藝術學系碩士班
98
The thesis''s main research objective is to explore the expressive style and the progression of creative process of Giorgio de Chirico''s metaphysical paintings, and to apply metaphysical painting''s concepts and theories on the author''s own artistic creations. Giorgio de Chirico''s metaphysical painting style, not only escapes the restrictions of naturalism, but also differs from the classical style from the Renaissance. The themes he created usually express the aloof and cold realistic feelings that pertain to the metaphysics; sometimes he expresses the metaphysical philosophy from the flamboyant images. Giorgio de Chirico''s paintings imply unintelligible poetic rhythms; understanding and appreciating his paintings can make one feel a quiet mysteriousness. This essay tries to compare Giorgio de Chirico''s metaphysical paintings and the author''s works; it also explores the true meaning of art by analyzing and researching aspects such as both persons'' technical expression, objected images, and figure''s implications. This thesis''s research objective is to ascertain the author''s artistic and creative direction through understanding Giorgio de Chirico''s creative ideas and movingly deep implications. I hope readers can improve their appraisal during the process of understanding Giorgio de Chirico''s painting languages and creative forms.
Allan, Michele Margaret. « ‘LIQUID SPACE’ : a visual investigation of the sea as an empirical, experiential and metaphoric space ». Phd thesis, 2013. http://hdl.handle.net/1885/13491.
Texte intégralLivres sur le sujet "Metaphysical painting / art"
Paolo, Fossati. La " pittura metafisica". Torino : G. Einaudi, 1988.
Trouver le texte intégralMontalto, Domenico, et Francesco Cancelliere, dir. Il mago ascolta. Messina, Italy : Galleria Francocancelliere, 2004.
Trouver le texte intégralGrenoble, Musée de, dir. L' art italien et la metafisica : Le temps de la mélancolie, 1912-1935. Arles : Actes sud, 2005.
Trouver le texte intégralItaly), Palazzo Ziino (Palermo, dir. Giorgio De Chirico : Miti, enigmi, inquietudini : Palermo, Palazzo Ziino, 25 ottobre 2002-6 gennaio 2003. Palermo : Edizioni ADA, 2002.
Trouver le texte intégralDulbecco, Gian Paolo. Gian Paolo Dulbecco : I dipinti. Bologna, Italy : Paracelso arte contemporanea, 2000.
Trouver le texte intégral1888-1978, De Chirico Giorgio, et Blu palazzo d'arte e cultura (Pisa, Italy), dir. Giorgio de Chirico e la metafisica. Milano : Skira, 2020.
Trouver le texte intégralPatrikalakēs, Phaidōn. To realistiko, to erōtiko, kai to hypervatiko stē zōgraphikē. [Athens] : Aigokerōs, 1988.
Trouver le texte intégralBaldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus : Uno sguardo nell'invisibile. Firenze : Mandragora, 2010.
Trouver le texte intégralGuarienti, Carlo. Carlo Guarienti : Opere recenti. Milano : Electa, 1997.
Trouver le texte intégralGuarienti, Carlo. Carlo Guarienti : Opere 1946-1994. Milano : Charta, 1994.
Trouver le texte intégralChapitres de livres sur le sujet "Metaphysical painting / art"
Man, Eva Kit Wah. « Metaphysics, Corporeality and Visuality : A Developmental and Comparative Review of the Discourses on Chinese Ink Painting ». Dans Chinese Contemporary Art Series, 37–45. Berlin, Heidelberg : Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.
Texte intégralNovak, Barbara. « Epilogue : The Twentieth Century ». Dans American Painting of the Nineteenth Century, 217–38. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0015.
Texte intégralDemyanchuk, Andriy. « AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES ». Dans Integration of traditional and innovative scientific researches : global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-1.
Texte intégralGarfield, Rachel, Jenny Chamarette et Darragh O’Donoghue. « Stephen Dwoskin, an Intermedial Artist ». Dans The Moving Form of Film, 225—C14P53. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0015.
Texte intégralRudd, Anthony. « Truth (and Goodness) in Painting ». Dans Painting and Presence, 38—C2.P44. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0003.
Texte intégralParkinson, Nicholas. « De Chirico and the Fin de Siècle : The Metaphysical Paintings and Their Relationship to Symbolism ». Dans The Symbolist Roots of Modern Art, 178–92. Routledge, 2017. http://dx.doi.org/10.4324/9781315085104-18.
Texte intégralYturralde, José María, et Adolfo Plasencia. « Geometry of a Multidimensional Universe : Weightless Art and the Painting of the Void ». Dans Is the Universe a Hologram ? The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036016.003.0033.
Texte intégralL.Walton, Kendall. « Metaphor and Prop Oriented Make-Believe ». Dans Fictionalism In Metaphysics, 65–87. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199282180.003.0003.
Texte intégral« Dante Gabriel Rossetti (1828-82) ». Dans A Century of Sonnets, sous la direction de Paula R. Feldman et Daniel Robinson, 213–15. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0084.
Texte intégralEarnshaw, Steven. « Habitual drunkards and metaphysics : case studies from the Victorian period ». Dans The existential drinker, 45–64. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719099618.003.0002.
Texte intégralActes de conférences sur le sujet "Metaphysical painting / art"
Jia, Ruo. « Cloud as an Alternative Architecture ». Dans 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.
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