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Статті в журналах з теми "Metaphysical painting"
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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.
Повний текст джерелаАнотація:
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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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.
Повний текст джерелаАнотація:
AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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Smith, David Nowell. "Surfaces: Painterly Illusion, Metaphysical Depth." Paragraph 35, no. 3 (November 2012): 389–406. http://dx.doi.org/10.3366/para.2012.0066.
Повний текст джерелаАнотація:
This essay analyses the way in which the relation between surface and depth in modern painting is endowed with philosophical significance in the work of Michel Foucault, Maurice Merleau-Ponty and Michel Henry. Whereas Foucault considered the work of Magritte and Manet to undermine the notion of depth as such, by showing the movement of ‘similitude’, Merleau-Ponty and Henry saw post-impressionist painting as engendering an experience of depth that exceeds the Cartesian model of space as res extensa. The motif of painterly surface thus brings into debate two significant movements in French twentieth-century thought: structuralism and phenomenology; in each case, the engagement with painterly technique becomes a way of grasping broader questions regarding the relation between perceptual experience and linguistic meaning.
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Wysłouch, Seweryna. "Lech Majewski, metafizyka i Bosch." Przestrzenie Teorii, no. 38 (July 11, 2023): 41–58. http://dx.doi.org/10.14746/pt.2022.38.3.
Повний текст джерелаАнотація:
The subject of the analysis is the problem of metaphysics in Lech Majewski’s novel Metafizyka [Metaphysics] (2002) and in the author’s film adaptation entitled Ogród rozkoszy ziemskich [The Garden of Earthly Delights] (2004). In the novel, metaphysical sensations are conveyed through discourse: 1) the reflections of the rationalist protagonist who undergoes a crisis of worldview following the death of his partner, and 2) in interpretations of the mysterious triptych by Hieronymus Bosch, showing an irreal world: an earthly paradise which the characters attempt to emulate by repeating scenes from the painting. In the film, Majewski aban metaphysical discourse in favour of exposing The Garden of Earthly Delights and showing elaborate psychological portraits of his characters, especially the heroine who is fascinated by Bosch. Therefore, despite having the same plot, the novel and the film are two separate, autonomous works.
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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.
Повний текст джерелаАнотація:
Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
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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.
Повний текст джерелаАнотація:
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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ROSTOVA, N. N. "Philosophy of «metaphysical painting» of Giorgio de Chirico." Personality.Culture.Society 20, no. 1-2 (2018): 149–57. http://dx.doi.org/10.30936/1606-951x-2018-20-1/2-149-157.
Повний текст джерела
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Van Vuuren, H. "‘Saltimbanque en Vriendin’ Opnuut Gelees." Literator 7, no. 2 (May 7, 1986): 74–84. http://dx.doi.org/10.4102/lit.v7i2.882.
Повний текст джерелаАнотація:
N.P. van Wyk Louw’s poem, “Saltimbanque en vriendin” (Tristia, 1962), has to be read against the background of the saltinnbanque tradition in literature and painting. Poems of Baudelaire, IVIarsman and Rilke illustrate the mechanism of this tradition: a metaphysical world implied behind the physical world of the artist.The paintings of Georges Rouault and Pablo Picasso around the figure of the clown/saltimbanque are discussed. It is shown that the saltimbanque usually represents the poet/author/artist himself. Finally it is pointed out that "Saltimbanque en vriendin" can be read as the groundplan for "Groot Ode”.
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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.
Повний текст джерелаАнотація:
This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
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Косякова, Валерия Александровна. "Proletarian “neoicon”: Metaphysical Light of Electricity in Kliment Redko’s Painting Revolt." Платоновские исследования 1, no. 20(20) (July 15, 2024): 301–11. http://dx.doi.org/10.25985/pi.20.1.12.
Повний текст джерелаАнотація:
Статья посвящена анализу картины Климента Редько «Восстание», относящейся к периоду раннего советского модернизма. Автор обнаруживает стратегию перекодировки православной иконографии «Спаса в силах», «Преображения», «Неопалимой купины» на почве технократических идей, сопровождавшихся метафизическим и мистическим пониманием энергии и электричества в период раннесоветской модернизации. Климент Редько, обучавшийся в школе иконописи Киево-Печерской лавры, реинтерпретирует исихастское понимание Фаворского света, повлиявшее на традицию православной иконописи. На его картине «Восстание» символическим «пантократором», выводящим народ из темной дореволюционной «пещеры», становится фигура Владимира Ильича Ленина. Концепцию «электроорганизма», а затем «люминизма», Редько представил в абстрактных работах, манифесте 1922 года, а позже синтезировал ее с фигуративной живописью в попытке создания «пролетарской иконы». В статье анализируется «иконография» Ленина, специфика цветосветовой семантики картины «Восстание», а также метафизические коннотации репрезентации электричества. The article aims to investigate the role of electricity in early Soviet modernism. The author analyzes the concept of the metaphysics of light in the works of Kliment Redko, exploring the relationship between the Orthodox understanding of the nature of light and the nature of electricity that was actively conceptualized during the period of early Soviet modernism. A strategy of recoding the traditional Orthodox iconography of and the based on the new technocratic ideas is revealed. Kliment Redko (who studied at the icon painting school of the Kiev-Pechersk Lavra) reinterprets the understanding of the Tabor Light, which heavily influenced the tradition of Orthodox iconography. In his painting , Vladimir Ilyich Lenin becomes the new “Pantocrator” who brings people out of the dark pre-revolutionary “cave”. The concept of “electroorganism”, and then “luminism”, has been developed by Redko initially in his abstract works and the 1922 manifesto, but later was synthesized with figurative painting in an attempt to create a “proletarian icon”. The article analyzes this “iconography” of Lenin, the specifics of the color and light semantics of the painting, as well as the metaphysical connotations of the attempt to depict electricity.
Дисертації з теми "Metaphysical painting"
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Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.
Повний текст джерелаАнотація:
This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written culture of ideas, all within the context of prayer.
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Heins, Barbara. "Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.
Повний текст джерела
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Manganiello, Ilaria. "L'élaboration du concept de "poésie métaphysique" et d' "art métaphysique" chez T.S.Eliot, Eugenio Montale et Giorgio de Chirico." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL060.
Повний текст джерелаАнотація:
Cette thèse s'attache à reconstituer le mouvement ou l'avant-garde littéraire et artistique du début du XXe siècle appelée Métaphysique à travers deux poètes : T.S. Eliot et Eugenio Montale et un peintre : Giorgio de Chirico. L'analyse de la philosophie et de la poétique des auteurs en question nous a permis d'identifier certains éléments communs aux trois auteurs. Cela nous a autorisé à reconstruire, ou plutôt, à définir le mouvement d'avant-garde susmentionné, qui, en fait, sans le présent travail, n'aurait pas trouvé une telle définition. La métaphysique telle qu'elle est comprise par T.S. Eliot, Montale et de Chirico repose notamment sur l'idée de l'énigme qui sous-tend toute réalité, énigme qui est la métaphysique elle-même, et sur l'idée du temps comme éternel présent et éternel retour à travers la résurgence du mythe et de la littérature comme voix intemporelles. Ainsi, la Waste Land, par exemple, est le contenant dans lequel résonnent les voix littéraires, poétiques et mythiques d'autres textes ; et l'atemporalité des atmosphères métaphysiques chez Chirico, (on pense par exemple à la statue de l'Ariadne abandonnée), est également un retour : le retour du passé mythique de l'Occident dans le temps présentThis thesis is concerned with reconstructing the movement or literary and artistic avant-garde of the early 20th century called Metaphysical Art through the figures of two poets: T.S. Eliot and Eugenio Montale and a painter: Giorgio de Chirico. The analysis of the philosophy and poetics of the authors in question has allowed us to identify a certain number of elements common to the three authors. This has made possible the reconstruction, or rather, the definition of the aforementioned avant-garde movement, which, in fact, without the present work, would not have found such a definition. Metaphysics as understood by T.S. Eliot, Montale and de Chirico rests, in particular, on the idea of the enigma that underpins reality, an enigma that is metaphysics itself, and on the idea of time as eternal present and eternal recurrence through the resurfacing of myth and literature as timeless voices. Thus, the Waste Land, for example, is the container in which the literary, poetic, mythical voices of other texts resonate, and the timelessness of the metaphysical atmospheres painted by de Chirico, (e.g. the statue of the abandoned Ariadne), represents also a return: the return of the mythical past of the Western culture into the present time
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White, David Allan, of Western Sydney Nepean University, and 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.
Повний текст джерелаАнотація:
In this research paper for the postgraduate degree of Master of Arts (Hons) (Visual Arts), the author is proposing to investigate the relationship of Nietzsche's division of culture into two principal strains, 'The Apollonian and the Dionysiac', and its application to the art of painting. When Nietzsche wrote the 'Birth of Tragedy' in 1872, from which his division of culture emerged, it was entitled 'The Birth of Tragedy from the Spirit of Music'. Young (1992), also describes music as 'The Dionysian art' in his book 'Nietzsche's Philosophy of Art'. With consideration to changes in art and perception between the latter nineteenth and the twentieth century, a stronger argument for the inclusion of painting as 'a Dionysian art', can be formed. The author also analyses the metaphysical in art and through an examination of the nature of the Dionysiac as described in religious rites as opposed to varying analysis from Nitzsche and his criticsMaster of Arts (Hons) (Visual Arts)
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Kouroutaki, Alexandra. "Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30057.
Повний текст джерелаАнотація:
L’objectif de ce travail est l’étude de la démarche artistique du mouvement surréaliste et de la peinture métaphysique en Grèce pendant la période des années 1930. En particulier la thèse étudie le cas des peintres Nikos Engonopoulos, Gerassimos Steris et Georges Gounaro. Tout en examinant « l’idiome pictural » des artistes, ce travail vise également à élucider les influences reçues des artistes Grecs tant par le mouvement surréaliste en France que par les aspirations métaphysiques de la peinture de Giorgio de Chirico. Ainsi orientée, la mise en relation s’effectue sur deux axes, premièrement thématique et deuxièmement stylistique. Dans la première partie, la thèse considère la réception du surréalisme et de la peinture métaphysique en Grèce, effectuée dans des conditions hostiles. Il s`agit donc d`étudier le concept de la « Grécité » et le contexte historique et sociopolitique qui a marqué l’implantation retardée et l’expression affaiblie de cette peinture qui, affranchie des contraintes de l’académisme, a provoqué un scandale sans précédent, combinant Modernisme et Tradition. Dans les parties suivantes, ce travail aborde des thèmes communs dans l`œuvre des artistes du corpus, à savoir l`espace pictural surréel, méta empirique, et onirique, les visions métaphysiques, le rôle du Mythe Orphique, et finalement la représentation et le symbolisme de la figure humaine, historique et mythique, dans son inquiétante étrangeté. De surcroît, la thèse révèle l’originalité de cette création artistique subversive (thèmes choisis, techniques, dessin, et couleurs utilisées) qui a oscillé entre les influences occidentales et la revendication d`une spécificité nationale et culturelleThe objective of this work is the study of the artistic process of the surrealist movement and the metaphysical painting in Greece, during the 1930s. In particular, the thesis examines the case of painters Nikos Engonopoulos, Gerassimos Steris, and Georges Gounaro. While examining the artists’ « pictorial idiom », it also seeks to elucidate the influences received from Greek artists by the surrealist movement in France and by the metaphysical aspirations of Giorgio de Chirico’s painting. The method of approach is based on the parallel, performed on two axes, firstly thematic and secondly stylistic. In the first part this work considers the reception of surrealism and the metaphysical painting in Greece, at the time of the inter-war period, which was carried out in adverse conditions. The reasons for the weak expression of Surrealism and its delayed implantation in Greece are attributed to the socio-political context and the imperatives of the time. This surreal and metaphysical creation, freed from the constraints of academic painting, caused a scandal as she approached Greek tradition in an innovative way. In the following sections the research deals with common topics in the pictorial work of Greek artists’, namely the surreal, meta-empirical, and dreamlike pictorial space, as well as painters’ metaphysical visions, the role of the Orphic myth, and finally the presence and the symbolism of historical and mythical human figures which often follow the principle of metamorphosis. In addition this work reveals the originality of this art (topics, drawing and colours used) mainly due to its Greek character. It’s a particular case study of that thoroughly subversive artistic creation, oscillated between Western influences and claims of national and cultural specificity
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White, David. ""From Apollonian to Dionysiac" /." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.145642/index.html.
Повний текст джерелаАнотація:
Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1996."A paper on Nietzsche's division of culture into two principal strains. "The Apollonian and the Dionysiac", and its application to the art of painting.--t.p.
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
Повний текст джерелаАнотація:
My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Caldarola, Elisa. "Pictorial Representation and Abstract Pictures." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.
Повний текст джерелаАнотація:
This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction.
The first part is dedicated to a survey of the analytical debate on depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting.
There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well.
Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich.Il mio lavoro si inserisce nell’ambito del dibattito sul concetto di rappresentazione pittorica (RP) e sulla teoria dell’arte pittorica recentemente portato avanti in area analitica. I miei obiettivi principali sono un’esposizione critica dei problemi sollevati dalla tesi secondo cui è la somiglianza agli oggetti dipinti che spiega RP e un’analisi del fenomeno della pittura astratta da un punto di vista analitico. La prima parte è dedicata ad una ricognizione del dibattito analitico su RP, con particolare attenzione ai destini della “teoria della somiglianza”. Nel primo capitolo traccio i contorni delle principali teorie attualmente discusse, nel contesto di un’analisi della letteratura tradizionale sull’argomento, da Platone a Cartesio. La decisione di dare maggiore rilevanza alla teoria della somiglianza rispetto che ad altre teorie su RP è motivata dal fatto che il resto della mia ricerca è dedicato all’analisi e a una proposta di arricchimento di una delle proposte che recentemente hanno riproposto la teoria della somiglianza, benché con alcune importanti modifiche. Si tratta della teoria difesa da John Hyman, che espongo nel secondo capitolo, avendo cura di mostrarne i presupposti e di discutere alcune critiche e obiezioni che le sono state mosse. Il terzo e quarto capitolo sono dedicati all’arricchimento della teoria di Hyman in relazione al fenomeno della pittura astratta. Due sono le peculiarità della teoria di Hyman: primo, è in controtendenza rispetto a tutte le altre attuali proposte sulla RP, perché non ha bisogno di concepire RP come rappresentazione di particolari o di tipi di oggetti che possiamo facilmente identificare; secondo, è una teoria che porta l’arte al centro della discussione filosofica su RP. Hyman, infatti, illustra la sua proposta con numerosi riferimenti alla storia delle arti figurative. La seconda parte di questo lavoro è ispirata dall’idea che la teoria della somiglianza di base di Hyman si possa applicare anche ai dipinti astratti. Lo sviluppo di un’analisi della pittura astratta da un punto di vista analitico è un compito con cui finora si sono misurati pochissimi autori – per quanto ho potuto appurare. Tuttavia, è evidente che gli obiettivi che i pittori di immagini astratte si pongono sono vicini a quelli che si pongono i filosofi quando discutono sulla RP. È opinione diffusa che uno dei temi principali dell’arte contemporanea sia l’arte stessa, e che uno dei temi principali della pittura astratta sia l’arte stessa di dipingere, l’arte di produrre immagini, con i suoi limiti e le sue convenzioni. Motivata da queste considerazioni, ho cercato di dare una prima formulazione alla proposta di una teoria della somiglianza di base della RP applicata ai dipinti astratti. I miei principali riferenti critici sono filosofi come Richard Wollheim, Kendall Walton e Lambert Wiesing, e critici e storici dell’arte come Clement Greenberg ed Ernst Gombrich.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Lin, Li-ching, and 林禮慶. "Mystical language--A study on the style of painting in Metaphysical Art." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54119245042989145556.
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碩士南華大學
美學與視覺藝術學系碩士班
98
The thesis''s main research objective is to explore the expressive style and the progression of creative process of Giorgio de Chirico''s metaphysical paintings, and to apply metaphysical painting''s concepts and theories on the author''s own artistic creations. Giorgio de Chirico''s metaphysical painting style, not only escapes the restrictions of naturalism, but also differs from the classical style from the Renaissance. The themes he created usually express the aloof and cold realistic feelings that pertain to the metaphysics; sometimes he expresses the metaphysical philosophy from the flamboyant images. Giorgio de Chirico''s paintings imply unintelligible poetic rhythms; understanding and appreciating his paintings can make one feel a quiet mysteriousness. This essay tries to compare Giorgio de Chirico''s metaphysical paintings and the author''s works; it also explores the true meaning of art by analyzing and researching aspects such as both persons'' technical expression, objected images, and figure''s implications. This thesis''s research objective is to ascertain the author''s artistic and creative direction through understanding Giorgio de Chirico''s creative ideas and movingly deep implications. I hope readers can improve their appraisal during the process of understanding Giorgio de Chirico''s painting languages and creative forms.
Книги з теми "Metaphysical painting"
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Paolo, Fossati. La " pittura metafisica". Torino: G. Einaudi, 1988.
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Montalto, Domenico, and Francesco Cancelliere, eds. Il mago ascolta. Messina, Italy: Galleria Francocancelliere, 2004.
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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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Dulbecco, Gian Paolo. Gian Paolo Dulbecco: I dipinti. Bologna, Italy: Paracelso arte contemporanea, 2000.
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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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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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Patrikalakēs, Phaidōn. To realistiko, to erōtiko, kai to hypervatiko stē zōgraphikē. [Athens]: Aigokerōs, 1988.
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Baldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus: Uno sguardo nell'invisibile. Firenze: Mandragora, 2010.
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Guarienti, Carlo. Carlo Guarienti: Opere recenti. Milano: Electa, 1997.
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Guarienti, Carlo. Carlo Guarienti: Opere 1946-1994. Milano: Charta, 1994.
Знайти повний текст джерелаЧастини книг з теми "Metaphysical painting"
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Townsend, Christopher. "A Metaphysical Theater: Abstract Painting, Color Music, and Futurist Experiments in Avant-garde Film." In Re-Reading the Age of Innovation, 63–77. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003191629-6.
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Crocker, Stephen. "One or Many Planes: The Composition of Intervals in Painting and Film." In Bergson and the Metaphysics of Media, 45–61. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137324504_3.
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Man, Eva Kit Wah. "Metaphysics, Corporeality and Visuality: A Developmental and Comparative Review of the Discourses on Chinese Ink Painting." In Chinese Contemporary Art Series, 37–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.
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Rudd, Anthony. "Metaphysical Implications." In Painting and Presence, 157—C7.P30. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0008.
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Abstract Starting from Merleau-Ponty’s dictum that ‘Every theory of painting is a metaphysics,’ this chapter expands on and defends some of the philosophical implications of the theory of painting developed so far. It starts by clarifying the notion of essence on which it is relying, which involves at least a modest realism about natural kinds, arguing that it is a commonsensical position and not metaphysically extravagant. It then argues that although the knowledge that painting gives us is non-paraphrasable and therefore non-discursive, it is not ‘non-conceptual’ in the classic empiricist sense of pure unmediated sensory acquaintance. It concludes by looking back to the issue raised in Chapter Two, where it was argued that truth—the disclosing of reality—can only be of value if the reality it discloses is itself of value. So, as well as a moderate realism about essence, the theory implies or presupposes a realism about value.
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Rudd, Anthony. "Making the Invisible Visible." In Painting and Presence, 105—C5.P61. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0006.
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Abstract The emerging account of painting as disclosive, so far articulated mainly by reference to traditional and explicitly religious/metaphysical cultures, is further developed in a modern, secular context through an engagement with Merleau-Ponty’s philosophy of painting. The chapter takes as its main interpretative thread the idea—which Merleau-Ponty picks up from Klee—that painting makes the invisible visible. It considers various ways in which this might be understood, showing how Merleau-Ponty develops the idea that paintings disclose or express their subject’s manner or ‘style’ of being. By evoking the essential natures of things, paintings bring the attentive viewer into communion with them. The chapter concludes with descriptions of a number of paintings from different times and places, inviting the reader to look closely at them and consider how they can be experienced as ‘making present’ in the sense this book is concerned with.
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Greeley, Anne. "de Chirico, Giorgio (1888–1978)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2051-1.
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The modern Italian painter Giorgio de Chirico was born in the port city of Volos in the Grecian province of Thessaly. After training in Athens and Munich, he lived briefly in Milan and Florence before moving to Paris in 1911. There, between 1911 and 1915, he developed the highly original, ‘metaphysical’ style of painting on which his reputation is chiefly founded. With this singular idiom––epitomised in his 1914 painting The Enigma of a Day––and the critical support of Guillaume Apollinaire, he established himself as one of the luminaries of the Parisian avant-garde, alongside Pablo Picasso and André Derain.
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"3. The Prison-House of Painting: The Enigma of Fatality." In Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris. Yale University Press, 2014. http://dx.doi.org/10.37862/aaeportal.00059.007.
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Novak, Barbara. "Epilogue: The Twentieth Century." In American Painting of the Nineteenth Century, 217–38. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0015.
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Abstract It seems obvious from the foregoing chapters that America brought into the twentieth century an art that exhibited specific tendencies and continuities. From the limners on, American artists had held, in one way or another, to the adamant control of idea. Enlisting measure, mechanics, and technology as aids toward a certainty that was often as ideal as it was real, American artists guarded the unbroken integrity of the objects or things of this world, which became, very often, vessels or carriers of metaphysical meaning. Tempered by the dual planar inclinations of a continuing folk tradition and a classic mensuration, matter, in American nineteenth-century art, was often stable, fixed, weighted, the pictorial parallel of an age still dominated by Newtonian physics. Dissolution of matter, when it occurred, was rarely scientific or analytical, but emotive and lyrical, becoming part of a quietistic tradition and reaching through memory to another area of Mind. Through it all, the thing dominated, amounting, in fact, to a preoccupation with things, amplified by concerns with light, space, weather, and time that were often additional routes to the character of an environment shaped by things, as well as extensions from the world at large to the thing.
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Demyanchuk, Andriy. "AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES." In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-1.
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The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.); artistic and stylistic (analysis of the manner of individual masters, their schools, separate fine arts periods); philosophical (metaphysical method: essence and phenomenon; substance and form); theological (church canons; divinity of the icon); method of artistic analysis. Research results. A unique author's technology of producing icons was developed and described on the basis of the study of the best methods of ancient and modern technological processes. This technology has been tested by the well-known students of the sacred art. Scientific novelty of the obtained results is that valuable materials dealing with the use of the ancient techniques and technological processes in modern sacred art have been contributed to the Ukrainian fine arts science, particularly, icon painting using the ancient egg-tempera techniques (taking into account the author's experience). Recommendations. The study of the ancient techniques and technological processes and their application in contemporary painting still require further theoretical research.
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Cordingley, Anthony. "From the Cradle to the Cave: A Comedy of Ethics from Plato to Christian Asceticism (via Rembrandt)." In Samuel Beckett's How It Is, 110–37. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440608.003.0005.
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The metaphysical themes explored in previous chapters are amplified when Beckett is shown to engage explicitly with the ethics of Plato and Aristotle, as well as Greek and Roman Stoics. This chapter delves deep into Beckett’s comedy of ethics, examining his exploitation of Socratic method and ancient philosophies of education or paideia, morality and “natural order” to frame the journey of his “I” and the “I”’s recitation of his narrative as ethical acts. Beckett’s “I” contrasts these ideas with modes of Christian asceticism, filtering his conception of his own “flight into Egypt” through images in his mind that derive from the painting of religious motifs in Rembrandt, Elsheimer and others. Beckett’s ironic regard for his “I” is considered in terms of his ethics of laughter and his philosophically inflected notion of the risus purus (the laughter that laughs at itself), which emerges as a driving force in the novel’s ethical comedy.
Тези доповідей конференцій з теми "Metaphysical painting"
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Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.
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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s turn represented his philosophical initiative to reflect on and shift away from Western metaphysics, especially from the negative dialectics of Hegel, and towards a different architecture based on a harmonious and positive materialist dialectic inspired by Chinese Taoist and Chan Buddhist philosophy. Here, in Damisch’s “reinvention” of Chinese painting, the cloud not only literally entered paintings to negotiate the intertextuality of mountain and water, ink and brush, and even that of the painter and painting, but also to fill the role of the materialist body in a different perspective of world formation—as the breath, the one movement that sustains or constitutes all life. In Damisch’s vision, such a cloud even leads to a different kind of architecture, one that counters the philosophical metaphor of architecture as the stability of the arche, the subject, the essence, or any anchored center. The cloud and its philosophical architectural alternative also contribute to a reflection on the very physicality of architecture, leading to the formation of an architecture in absentia, to which Damisch was to return in 2003 when discussing Diller+Scofidio’s Blur Building (2002), as well as the Chinese architecture of the Ming Dynasty.