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Książki na temat „Metaphysical painting / art”

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Autor: Grafiati
Data publikacji: 28 września 2024

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1

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

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2

Montalto, Domenico, i Francesco Cancelliere, red. Il mago ascolta. Messina, Italy: Galleria Francocancelliere, 2004.

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3

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

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4

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

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5

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

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6

1888-1978, De Chirico Giorgio, i Blu palazzo d'arte e cultura (Pisa, Italy), red. 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

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

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15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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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24

1888-, De Chirico Giorgio, Calarota Franco, Calarota Roberta i Galleria maggiore (Bologna Italy), red. 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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25

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

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26

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

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27

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

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28

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

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29

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

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30

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

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31

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

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32

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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33

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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34

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

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35

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

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36

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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37

Ontologies of Rock Art. Taylor & Francis Group, 2021.

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38

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

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39

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

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40

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

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41

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

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42

Porr, Martin, i Oscar Moro Abadía. Ontologies of Rock Art: Images, Relational Approaches and Indigenous Knowledges. Taylor & Francis Group, 2022.

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43

Field, George, i 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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44

Cooper, John Gilbert, i 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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45

Robert Motherwell, Abstraction, and Philosophy. Taylor & Francis Group, 2020.

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46

Hobbs, Robert. Robert Motherwell, Abstraction, and Philosophy. Taylor & Francis Group, 2020.

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47

Hobbs, Robert. Robert Motherwell, Abstraction, and Philosophy. Taylor & Francis Group, 2020.

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48

Hobbs, Robert. Robert Motherwell, Abstraction, and Philosophy. Taylor & Francis Group, 2020.

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49

Hobbs, Robert. Robert Motherwell, Abstraction, and Philosophy. Taylor & Francis Group, 2020.

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50

Min guo cong shu. Shanghai shu dian, 1989.

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