Results for ' Painting'

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  1. 30,000 bc: Painting animality. Deleuze & Prehistoric Painting - 2006 - Angelaki 11 (2):137 – 152.
  2. By dw Masterson.Sport in Modern Painting - 1974 - In Harold Thomas Anthony Whiting & D. W. Masterson, Readings in the aesthetics of sport. London: Lepus Books : [Distributed by] Kimpton.
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  3. 129 Jean-franqois Lyotard.Experience Painting-Monory - 2007 - In Diarmuid Costello & Jonathan Vickery, Art: key contemporary thinkers. New York: Berg. pp. 129.
     
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  4. 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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  5. “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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  6.  15
    Poetry, painting, park. Goethe and Claude Lorrain.Zoltán Somhegyi - 2022 - British Journal of Aesthetics 62 (1):149-151.
    Poetry, painting, park. Goethe and Claude Lorrain KempfFranz R.legenda. 2020. pp. 260. £75. hbk.
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  7.  45
    Painting as an Art.Richard Wollheim - 1987 - Princeton University Press.
    Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.
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  8.  37
    Painting with impasto: Metaphors, mirrors, and reflective regression in Montaigne's “of the education of children”.Virginia Worley - 2012 - Educational Theory 62 (3):343-370.
    Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to (...)
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  9.  8
    Painting, Ethics, and Aesthetics in Rome.Nathaniel B. Jones - 2019 - Cambridge University Press.
    In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, (...)
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  10.  2
    A painting you can eat: A dialogue between Dōgen and postmodern thinkers on nature and ecology.Carl Olson - 2024 - Asian Philosophy 35 (1):45-57.
    Ecology is a major international issue of the present moment because the earth is threatened by forces beyond our control that have potential devastating consequences. This essay looks at the problem through the eyes of the Zen master Dðgen and selected postmodern philosophers. The difference between them is evident by Dðgen’s planful statement about eating a painting of a rice cake. Postmodernists perceives nature as a social construct connected to a representational mode of thinking that conflicts with the postmodern (...)
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  11. When Paintings Argue.Gilbert Plumer - 2024 - Philosophy 99 (3):379-407.
    [Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My (...)
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  12.  24
    Painting for Fools.Catherine M. Soussloff - 2023 - Theory, Culture and Society 40 (1-2):179-200.
    Manuscripts and notes by Michel Foucault on the visual arts recently deposited at the Bibliothèque Nationale reveal a reliance on canonical oil paintings by the ‘old masters’; a respect for the primary sources in the history of European art; an understanding of the necessity of research in both literary and visual sources, particularly self-portraits; and a sense of the value that a certain philosophical milieu – beginning with Sade and Nietzsche and expanding to his near contemporaries, Bataille, Blanchot, and Klossowski (...)
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  13. Quaint Paint.Ede Zimmermann - unknown
    Hecky is a strange character, a mixture between an elephant and a squirrel, but with distinctly human features, including the gifts of speaking (English) and painting, and some supernatural powers. He once painted an enormous brick bridge leading halfway across a canyon near where his archenemy lives. Hence the following sentence clearly expresses a truth.
     
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  14.  38
    The Paintings of Ibrahim Nubani.Ayelet Zohar - 2011 - Theory, Culture and Society 28 (1):3-33.
    This text reads into the work of Ibrahim Nubani (1962—), a Palestinian-Israeli painter who was diagnosed with schizophrenia in 1988, during the first Intifada. Nubani’s painting has undergone a tremendous change from the 1980s and the period of his hospitalization to his painting style today: from geometric, Modernist-type painting, gradually moving into his contemporary chaotic and saturated style of expression. I draw parallels between Nubani’s personal and psychological condition and the political events that affected him. I refer (...)
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  15.  9
    Painting and Reality.Etienne Gilson - 1957 - Princeton University Press.
    The description for this book, Painting and Reality, will be forthcoming.
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  16.  6
    Appreciation: Painting, Poetry, and Prose.Leo Stein - 1996 - U of Nebraska Press.
    Living well was the best revenge for Leo Stein, the art critic who took to heart Samuel Johnson’s dictum, “Clear your mind of cant.” Leo shared with his sister, Gertrude Stein, the Paris apartment that became a meeting place for the famous. Reflected in Appreciation: Painting, Poetry and Prose are their early years as American expatriates as well as their later estrangement. This book, originally published in 1947, the year Leo died, includes his reminiscences and estimates of Picasso, Matisse, (...)
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  17.  16
    Experimental painting: construction, abstraction, destruction, reduction.Stephen Bann - 1970 - London,: Studio Vista.
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  18. Painting’s double: Andrew Benjamin’s Disclosing Spaces.Peter Murphy - 2011 - Thesis Eleven 104 (1):108-113.
    Andrew Benjamin’s book Disclosing Spaces (2004) presents a theory of painting. The theory is developed via a meticulous analysis of a series of individual artworks. The pivot of Benjamin’s theory of painting is the idea of relationality. The theory is critically reviewed with reference to the works of Edward Hopper, Gerhard Richter and Jacques-Louis David.
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  19.  16
    Painting, Science, and the Perception of Coloured Shadows: ‘The Most Beautiful Blue’.Paul Smith - 2021 - London: Routledge.
    Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vividly coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'. Paul Smith explains what makes these ephemeral effects worthy of such appreciation - or how depictions of coloured shadows have genuine aesthetic and epistemological significance. This multidisciplinary book synthesises methodologies drawn from art history, psychology and neuroscience, history of (...)
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  20.  23
    Russian realisms: literature and painting, 1840-1890.Molly Brunson - 2016 - DeKalb: Northern Illinois University Press.
    One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to (...)
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  21.  73
    Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform (...)
  22.  58
    Paintings as Solid Affective Scaffolds.Jussi Saarinen - 2019 - Journal of Aesthetics and Art Criticism 77 (1):67-77.
    We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...)
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  23.  59
    Why Painting Matters: Some Phenomenological Approaches.Anthony Rudd - 2017 - Journal of Aesthetics and Phenomenology 4 (1):1-14.
    The question of the value of painting—why paintings should matter to us—has been addressed by a number of Phenomenological philosophers. In this paper, I critically review recent discussions of this topic by Simon Crowell and Paul Crowther—while also looking back to work by Merleau-Ponty and Michel Henry. All the views I discuss claim that painting is important because it can make manifest certain philosophically important truths. While sympathetic to this approach, I discuss various problems with it. Firstly, are (...)
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  24.  31
    Painting Ethics: Death, Love, and Moral Vision in the Mahāparinibbāna.Anne Ruth Hansen - 2016 - Journal of Religious Ethics 44 (1):17-50.
    This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death (...)
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  25. Replicating Paintings.Matteo Ravasio - 2018 - Contemporary Aesthetics 16.
    In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...)
     
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  26.  27
    Representing Place: Landscape Painting and Maps.Edward S. Casey - 2002 - U of Minnesota Press.
    "You are here, a map declares, but of course you are not, any more than you truly occupy the vantage point into which a landscape painting puts you. How maps and paintings figure and reconfigure space--as well as our place in it--is the subject of Edward S. Casey's study, an exploration of how we portray the world and its many places. Casey's discussion ranges widely from Northern Sung landscape painting to nineteenth-century American and British landscape painting and (...)
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  27.  14
    The Painting "Confessions" of Nikolay Raynov.Yvanka B. Raynova - 2018 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 20 (2):201-208.
    The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...)
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  28. On the Image of Painting.Andrew Benjamin - 2011 - Research in Phenomenology 41 (2):181-205.
    Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim (...)
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  29. Mental paint and mental latex.Ned Block - 1996 - Philosophical Issues 7:19-49.
  30. Painting an Experience: Las Meninas, Consciousness and the Aesthetic Mode.Ron Chrisley - 2008 - Journal of Consciousness Studies 15 (9):40-45.
    Paintings are usually paintings of things: a room in a palace, a princess, a dog. But what would it be to paint not those things, but the experience of seeing those things? Las Meninas is sufficiently sophisticated and masterfully executed to help us explore this question. Of course, there are many kinds of paintings: some abstract, some conceptual, some with more traditional subjects. Let us start with a focus on naturalistically depictive paintings: paintings that aim to cause an experience in (...)
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  31.  14
    Invisible Violence In Persian Painting.Visheh Khatami Moghaddam - 2021 - International Journal of Žižek Studies 15 (3).
    Violence has always accompanied human societies, and appeared in various forms of artworks such as movie, painting, and even cave art, but Persian painting by showing the utopian calm images surprisingly kept itself away from representing the violence, even in the scenes of war and slaughter. This paper aims to study the Persian painting –with focus on the early Safavid dynasty as the age of glory of Iranian art- on the basis of Žižek’s theory, to show that (...)
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  32.  17
    Absorption and Theatricality: Painting and Beholder in the Age of Diderot.Michael Fried & Professor Michael Fried - 1980 - Univ of California Press.
    With this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood. "A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike.... An exhilarating book." John Barrell, "London Review of Books".
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  33.  79
    Painting and Philosophy.Michael Newall - 2014 - Philosophy Compass 9 (4):225-237.
    This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art (...)
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  34. Mental paint.Ned Block - 2003 - In Martin Hahn & Björn T. Ramberg, Reflections and Replies: Essays on the Philosophy of Tyler Burge. MIT Press. pp. 165--200.
    The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.
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  35. To paint the invisible.Luce Irigaray - 2004 - Continental Philosophy Review 37 (4):389-405.
    In this essay, which is preceded by an interview with the translator, the author revisits her earlier critique of Merleau-Ponty’s privileging of the visible, but also takes further her own thinking by drawing specifically on the issues raised within the context of painting. The focal point of her discussion is Merleau-Ponty’s essay, “Eye and Mind.”.
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  36.  39
    Painting and Reality.Ronald W. Hepburn - 1960 - Philosophical Quarterly 10 (38):90.
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  37.  44
    Painting Shakespeare.Michael Benton & Sally Butcher - 1998 - The Journal of Aesthetic Education 32 (3):53.
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  38.  17
    Painted Crosses and the Trajectories of Medieval Image Captions. Evidence from Thirteenth-Century Zadar and Beyond.Matko Matija Marušić - 2020 - Convivium 7 (2):92-109.
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  39.  46
    AjantaKangra Paintings of the Gita Govinda.Thomas Munro, Madanjeet Singh & M. S. Randhawa - 1966 - Journal of Aesthetics and Art Criticism 25 (2):216.
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  40. Painting the Heavens: Art and Science in the Age of Galileo. By Eileen Reeves.N. Gray - 2001 - The European Legacy 6 (3):395-395.
  41.  16
    Foucault on painting.Catherine M. Soussloff - 2017 - Minneapolis: University of Minnesota Press.
    What painting does -- Systems of art historical and philosophical thought -- The place of painting: Velazquez's Las Meninas -- The limits of irony: Manet's painting -- The negativity of painting: Magritte's this is not a pipe -- Painting in the light of photography: Fromanger's methods.
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  42.  40
    Paintings, conceptual art, and persons.David Carrier - 1980 - Philosophical Studies 37 (2):187 - 195.
  43. Expressive Painting of the 1980s as a Sign of Freedom.Grzegorz Dziamski - 2009 - Art Inquiry. Recherches Sur les Arts 11:317-328.
     
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  44. Painting.Susan Feagin - 2003 - In Jerrold Levinson, The Oxford handbook of aesthetics. New York: Oxford University Press.
     
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  45.  59
    Roman Painting.D. E. Strong - 1972 - The Classical Review 22 (02):259-.
  46.  29
    Painting and Presence: Why Paintings Matter.Aurélie J. Debaene - forthcoming - British Journal of Aesthetics:ayad017.
    Anthony Rudd’s Painting and Presence: Why Paintings Matter is a monograph that spans the categories of aesthetics, philosophy of art, and religion. Rudd takes t.
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  47.  38
    Framed PAINTING: The Representation of a Common Sense Knowledge Fragment.Eugene Charniak - 1977 - Cognitive Science 1 (4):235-264.
    This paper presents a “frame” representation for common sense knowledge and uses it to formalize our knowledge of “mundane” painting (walls; not portraits). These frames. while designed to aid a computer program to understand stories about the painting process, should be of use to programs which attempt to actually carry out the activity. The paper stresses a “deep” understanding of the activity so that the representation indicates not only what steps to carry out, but also how to do (...)
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  48. 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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  49.  59
    Painting: A Phenomenological Semiotics of Art and Visual Perception.Mirian Zielinski - 2001 - American Journal of Semiotics 17 (3):233-244.
  50.  46
    Famous Paintings.G. K. Chesterton - 1997 - The Chesterton Review 23 (1/2):21-25.
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