Results for 'Painting'

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  1. “Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value.Quan-Hoang Vuong, Manh-Tung Ho, Hong-Kong T. Nguyen, Thu-Trang Vuong & Ho Manh Toan - 2018 - Arts 7 (4):62.
    A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...)
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  2. Paintings of Music.Michelle Liu - 2022 - Journal of Aesthetics and Art Criticism 80 (2):151-163.
    Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.
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  3. Painting with Impossible Colours: Some Thoughts and Observations on Yellowish Blue.Michael Newall - 2021 - Perception 50 (2):129–39.
    This paper considers evidence, primarily drawn from art, that one kind of impossible colour, yellowish blue, can be experienced.
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  4. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  5. Spatially-Rotated Paintings: A Reply to Markosian’s "Sideways Music".Shen-yi Liao - manuscript
    In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can be given regarding intuitions about (...)
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  6. Attention to Mental Paint and Change Detection.Assaf Weksler - 2017 - Philosophical Studies 174 (8):1991-2007.
    According to the influential thesis of attentional transparency, in having or reflecting on an ordinary visual experience, we can attend only outwards, to qualities the experience represents, never to intrinsic qualities of the experience itself, i.e., to “mental paint.” According to the competing view, attentional semitransparency, although we usually attend outwards, to qualities the experience represents, we can also attend inwards, to mental paint. So far, philosophers have debated this topic in strictly armchair means, especially phenomenological reflection. My aim in (...)
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  7.  57
    To Colorize a Worldview Painted in Black and White : Philosophical Dialogues to Reduce the Influence of Extremism on Youths Online.Daniella Nilsson, Viktor Gardelli, Ylva Backman & Teodor Gardelli - 2015 - International Journal of Humanities and Social Science 5 (1):64-70.
    A recent report by the Swedish National Council for Crime Prevention in cooperation with the Swedish Security Service shows that the Internet has been extensively used to spread propaganda by proponents of violent political extremism, characterized by a worldview painted in black and white, an anti-democratic viewpoint, and intolerance towards persons with opposing ideas. We provide five arguments suggesting that philosophical dialogue with young persons would be beneficial to their acquisition of insights, attitudes and thinking tools for encountering such propaganda. (...)
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  8. Teaching Philosophy Through Paintings: A Museum Workshop.Savvas Ioannou, Kypros Georgiou & Ourania Maria Ventista - 2017 - Analytic Teaching and Philosophical Praxis 38 (1):62-83.
    There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the (...)
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  9. Imagination in Non-Representational Painting.Andreas Elpidorou - 2010 - In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
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  10. Harman on Mental Paint and the Transparency of Experience.Erhan Demircioglu - 2020 - Organon F: Medzinárodný Časopis Pre Analytickú Filozofiu 27 (1):56-81.
    Harman famously argues that a particular class of antifunctionalist arguments from the intrinsic properties of mental states or events (in particular, visual experiences) can be defused by distinguishing “properties of the object of experience from properties of the experience of an object” and by realizing that the latter are not introspectively accessible (or are transparent). More specifically, Harman argues that we are or can be introspectively aware only of the properties of the object of an experience but not the properties (...)
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  11.  73
    How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting.Jussi A. Saarinen - 2021 - British Journal of Aesthetics 61 (4):543-558.
    Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...)
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  12. The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice.Hyunkyoung Shin - 2018 - Journal of Aesthetic Education 52 (3):56.
    This paper examines East Asian literati’s sisŏhwa (poetry, calligraphy and painting) mainly done by ink and wash painting and focuses on their painting theories related to integrative learning and artistic practice. The literati expressed their philosophical ideas using visual and textual language according to Illyul theory based on the Sŏhwa Same Origin theory. They delivered their intentions through symbolic meaning of the visible in terms of the Uisang theory, and put emphasis on ki in their pictorial space (...)
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  13.  79
    Mirrors, Windows and Paintings.Calabi Clotilde, Huemer Wolfgang & Santambrogio Marco - forthcoming - Estetika: The European Journal of Aesthetics.
    What do we see in a mirror? There is an ongoing debate whether mirrors present us with images of objects or whether we see, through the mirror, the objects themselves. Roberto Casati has recently argued that there is a categorical difference between images and mirror-reflections. His argument depends on the observation that mirrors, but not paintings, are sensitive to changes in the observer’s prospective. In our paper we scrutinize Casati’s argument and present a modal argument that shows that it cannot (...)
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  14. Generativities: Western Philosophy, Chinese Painting, and the Yijing.Eric S. Nelson - 2013 - Orbis Idearum 1 (1):97–104.
    Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as (...)
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  15. The Death of Painting (After Plato).Ryan Drake - 2011 - Research in Phenomenology 41 (1):23-44.
    Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...)
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  16.  80
    Art Historical Explanation Of Paintings And The Need For An Aesthetics Of Agency.Daniel Davies - 2004 - Postgraduate Journal of Aesthetics 1 (3):86-98.
    Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...)
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  17. Poetic Opacity: How to Paint Things with Words.Jesse J. Prinz & Eric Mandelbaum - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford University Press. pp. 63-87.
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  18. No Time to Move: Motion, Painting and Temporal Experience.Jack Shardlow - 2020 - Philosophy 95 (3):239 - 260.
    This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...)
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  19.  57
    Aleatory Aesthetics: Appraising the Aesthetics of “Chance” in Gerhard Richter’s Cage Paintings.Ekin Erkan - 2021 - AEQAI.
    Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.
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  20. The Techniques of Painted Attic Pottery. [REVIEW]A. W. Johnston & J. V. Noble - 1989 - Journal of Hellenic Studies 109:267-268.
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  21. The Phenomenology of Painting.John B. Brough - 2007 - Review of Metaphysics 60 (4):894-896.
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  22.  34
    The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in (...)
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  23.  44
    Painting Consciousness.Steve Solodoff - manuscript
    This book explores consciousness, attention and Will from a unique viewpoint endeavoring to answer David Chalmers "Hard Problem". It expounds on the various processes involved with the transfer of physical objects and qualia, through cognitive processes and into phenomenal conscious experience. It also expounds a new theory on the fundamental building blocks of consciousness with its distribution into the physical, phenomenal and physio-phenomenal realms which subsume consciousness. Along the way, excerpts from articles and books by various authors are explored, including: (...)
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  24.  51
    Against Block on Attention and Mental Paint.David Mathers - 2020 - Philosophical Psychology 33 (8):1121-1140.
    In two papers, Ned Block has argued that representationalists have trouble with the empirical discovery that differences in the degree of visual attention to an object can lead to a difference in h...
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  25. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  26. Louvre Museum - Paintings.Nicolae Sfetcu - 2018 - Drobeta Turnu Severin: MultiMedia Publishing.
    The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...)
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  27. The History of Russian Empire’s Most Expensive Painting.Nadiia Pavlichenko - 2019 - «Наукові Записки НаУКМА. Історія І Теорія Культури» 2 (13):98-104.
    The article describes the story of painting Nana (1881) by Marcel Suchorowsky known as the most expensive painting sold by a painter in the Russian Empire. But the art piece differs a lot from the general line of the local art market situation, which was defined by special institutions, such as the Imperial Academy of Arts in Saint Petersburg. The main aspects are taken into consideration, such as: critical analysis of the painting, the story of the plot, (...)
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  28.  33
    Beyond Representation: Reconsidering Loehr's Periodisation of Chinese Painting.Xiaoyan Hu - 2017 - Proceedings of ICA 2016 ‘Aesthetics and Mass Culture’ (E-Book), 2016.
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  29. Individuality and Mortality in the Philosophy of Portrait Painting: Simmel, Rousseau, and Melanie Klein.Byron Davies - 2018 - Contrastes: Revista Internacional de Filosofía 23 (3):27-52.
    This paper explores some connections between depictions of mortality in portrait-painting and philosophical (and psychoanalytic) treatments of our need to be recognized by others. I begin by examining the connection that Georg Simmel makes in his philosophical study of Rembrandt between that artist’s capacity for depicting his portrait subjects as non-repeatable individuals and his depicting them as mortal, or such as to die. After noting that none of Simmel’s explanations of the tragic character of Rembrandt’s portrait subjects seems fully (...)
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  30. Silence in the Coffee Plantation: The Painting-Poetics of Candido Portinari.Rafael Duarte Oliveira Venancio & Marina Colli de Oliveira - 2015 - Asian Journal of Humanities and Social Studies 3 (5).
    This article wants to analyze how Candido Portinari in his paintings with rural theme, engages a poetry of silence. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoric andthe Treatise on theVisual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the metaphors and metonymy engaged in (...)
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  31. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies (...)
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  32. Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico.Andreas Dorschel - 2009 - In Kunst und Wissen in der Moderne. Böhlau. pp. 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle (...)
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  33. The Transparency of Experience and the Neuroscience of Attention.Assaf Weksler, Hilla Jacobson & Zohar Z. Bronfman - 2019 - Synthese 198 (5):4709-4730.
    According to the thesis of transparency, subjects can attend only to the representational content of perceptual experience, never to the intrinsic properties of experience that carry this representational content, i.e., to “mental paint.” So far, arguments for and against transparency were conducted from the armchair, relying mainly on introspective observations. In this paper, we argue in favor of transparency, relying on the cognitive neuroscience of attention. We present a trilemma to those who hold that attention can be directed to mental (...)
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  34.  22
    The Dialectic of Consciousness and Unconsciousness in Spontaneity of Genius: A Comparison Between Classical Chinese Aesthetics and Kantian Ideas.Xiaoyan Hu - 2017 - Proceedings of the European Society for Aesthetics 9:246–274.
    This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists (...)
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  35. The Real Challenge to Photography (as Communicative Representational Art).Robert Hopkins - 2015 - Journal of the American Philosophical Association 1 (2):329-348.
    I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to (...)
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  36.  14
    Du réalisme du Nord au Théâtre de la cruauté résonances entre Bruegel l’Ancien et Antonin Artaud.Caroline Pires Ting - 2020 - PSN-PSYCHIAT SCI HUM 18:63-79.
    Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a (...)
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  37.  21
    The Moral Dimension of Qiyun Aesthetics and Some Kantian Resonances.Xiaoyan Hu - 2019 - Proceedings of the European Society for Aesthetics 11:339–374.
    In this paper, I suggest that the notion of qiyun (spirit consonance) in the context of landscape painting involves a moral dimension. The Confucian doctrine of sincerity involved in bringing the landscapist’s or audience’s mind in accord with the Dao underpins the moral dimension of spiritual communion between artist, object, audience and work. By projecting Kant’s, and Schiller’s somewhat modified Kantian philosophy of aesthetic autonomy and the moral relevance of art into the qiyun-focused context, we shall see that reflection (...)
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  38. Mirrors of the Soul and Mirrors of the Brain? The Expression of Emotions as the Subject of Art and Science.Machiel Keestra - 2014 - In Gary Schwartz (ed.), Emotions. Pain and pleasure in Dutch painting of the Golden Age. nai010 publishers. pp. 81-92.
    Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...)
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  39.  53
    Border Spectra in the Skies of Hokusai and Hiroshige: Japanese Traces of Newton or Goethe? A Colour Mystery.Olaf L. Müller - 2015 - In Magdalena Bushart & Friedrich Steinle (eds.), Colour Histories. Science, Art, and Technology in the 17th and 18th Centuries. Berlin, Deutschland: De Gruyter. pp. 129-144.
    In the seventeenth century, Newton used bis famous prism to found the physics of spectral light, thus revolutionising our thinking about colours; more than a hundred years later, Goethe protested against Newton's theory and discovered a number of new prismatic colour phenomena. Did these episodes in the history of science have any influence on the visual arts? For a decade now my visits to art museums have had an agenda: I have been looking for nineteenth-century paintings with certain spectral colour (...)
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  40. On Being Moved by Portraits of Unknown People.Hans Maes - 2020 - In Portraits and Philosophy. Routledge.
    In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...)
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  41. Application of Natural Deduction in Renaissance Geometry.Mirek Ryszard - 2014 - Argument: Biannual Philosophical Journal 4 (2):425-438.
    my goal here is to provide a detailed analysis of the methods of inference that are employed in De prospectiva pingendi. For this purpose, a method of natural deduction is proposed. the treatise by Piero della Francesca is a manifestation of a union between the ne arts and the mathematical sciences of arithmetic and geometry. He de nes painting as a part of perspective and, speaking precisely, as a branch of geometry, which is why we nd advanced geometrical exercises (...)
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  42.  82
    Sztuka i przestrzeń. Pawła Florenskiego interpretacja kategorii przestrzenności.Paulina Sury - 2015 - Argument: Biannual Philosophical Journal 5 (1):229-242.
    This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for (...)
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  43. Hilna Af Klint at The Guggenheim: Metaphysics as It Patrols Mortality’s Borders.Ekin Erkan - 2019 - AEQAI 2019 (7/8):1-11.
    The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...)
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  44. Sculpture.Robert Hopkins - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views (...)
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  45. Adam Bede’s Dutch Realism and the Novelist’s Point of View.Rebecca Gould - 2012 - Philosophy and Literature 36 (2):404-423.
    Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms (...)
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  46. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form (...)
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  47. Stalling for Time.Gabriel Furmuzachi - manuscript
    Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation (...)
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  48. Compendium of Documents for Supporting a Research Project on the Pictorial Art.Fidel Micó -
    Research projects on Art History use to be highly expensive, exhaustive, slow, and sometimes disappointing. As a consequence, careers of most relevant artists start and finish without being noticed, in absence of critical assessments that contribute to improve it. This compendium of documents is primarily intended to help serious researchers and writers find an appropriate standard to ask for regular updates to artists during their careers. The document is structured as a traditional publication, but as a sample of resources that (...)
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  49.  35
    "Where Ruin Greenly Dwells:" Sublimity and Romanticism in Kant's "Critique of Judgement".P. Winston Fettner - manuscript
    This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, (...)
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  50. Inflected Pictorial Experience: Its Treatment and Significance.Robert Hopkins - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press. pp. 151.
    Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...)
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