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.  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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  6. “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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  7.  44
    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. 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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  9.  30
    Painting with natural pigments on drowning land: the necessity of beauty in a new economy.Maria Jordet - 2023 - Journal of Critical Realism 22 (3):467-485.
    This article draws on insights of young people learning to make natural pigments and traditional paintings in acute climate vulnerable areas. Why do they paint during ongoing crises and how do they voice their future concerns? Critical realism is applied as a meta-theory in this field-based study in a slum area in Kolkata and the Sundarbans mangrove forest. Methods comprise focus groups, semi-structured interviews, and participant observation. Analysis was done in an abductive process, applying Roy Bhaskar’s model of ‘four-planar social (...)
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  10.  12
    Silk paintings in the works of modern Chinese artists as a synthesis of traditions and innovations.Tianpeng An - forthcoming - Philosophy and Culture (Russian Journal).
    In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most (...)
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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.  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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  13.  23
    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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  14.  41
    David Painting Death.Didier Maleuvre - 2000 - Diacritics 30 (3):1-27.
    In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.3 (2000) 13-27 [Access article in PDF] David Painting Death Didier Maleuvre Our life has no end in just the way in which our visual field has no limit. —Wittgenstein, Tractatus Logico-Philosophicus Dates It was the "terrible year." The Revolution was in danger, the enemies of France marched on the borders, the Reign of the Terror had begun. There lay Marat in his blood bath, a letter (...)
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  15.  11
    Chinese Painting from tradition to modernity.rui Yan - forthcoming - Philosophy and Culture (Russian Journal).
    According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; and (...)
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  16.  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 (...)
  17. Mental paint and mental latex.Ned Block - 1996 - Philosophical Issues 7:19-49.
  18.  96
    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.  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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  20.  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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  21.  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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  22.  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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  23.  56
    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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  24. 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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  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. 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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  27.  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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  28. Painting, sculpture, sight, and touch.Robert Hopkins - 2004 - British Journal of Aesthetics 44 (2):149-166.
    I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this (...)
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  29. Painting.Susan Feagin - 2003 - In Jerrold Levinson, The Oxford handbook of aesthetics. New York: Oxford University Press.
     
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  30.  34
    Action painting and the world-as-picture.Wayne J. Froman - 1988 - Journal of Aesthetics and Art Criticism 46 (4):469-475.
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  31.  41
    Chinese Painting as Reflected in the Thought and Art of Li Lung-Mien, 1070-1106. Agnes E. Meyer.George Sarton - 1925 - Isis 7 (1):145-147.
  32.  27
    Deccani Painting.Annemarie Schimmel & Mark Zebrowski - 1985 - Journal of the American Oriental Society 105 (2):357.
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  33.  77
    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.  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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  35.  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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  36.  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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  37.  25
    Transpositions: Painting and the Phenomenological Fragments of the Unrecognizable.Alejandro A. Vallega - 2023 - Research in Phenomenology 53 (2):133-161.
    For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, (...)
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  38. 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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  39.  14
    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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  40.  47
    The Phenomenology of Painting.Nigel Wentworth - 2004 - Cambridge University Press.
    The Phenomenology of Painting examines the practice of painting - how a painter works with materials, the elements of space, form and color - and viewer response to a work of art. Nigel Wentworth seeks to answer some of the central questions of the philosophy of art, such as: To what extent can a painting and its meaning be understood to result from the artist's intentions? In what way can the painting be understood as an expressive (...)
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  41.  10
    Painting towards Architecture.John Alford & Henry-Russel Hitchcock - 1950 - Journal of Aesthetics and Art Criticism 8 (3):203.
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  42. Thick Paintings and the Logic of Things: The Non-Ultimate Nature of Particular Works of Art.Rita Risser - 1996 - Ultimate Reality and Meaning 19 (4):292-297.
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  43. 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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  44.  36
    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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  45.  37
    Painting and Reality.Ronald W. Hepburn - 1960 - Philosophical Quarterly 10 (38):90.
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  46.  12
    The Painted Towns of Shekhawati.Joachim K. Bautze & Ilay Cooper - 1996 - Journal of the American Oriental Society 116 (3):583.
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  47.  23
    Wall Paintings of Rajasthan.Ernest Bender & Y. K. Shukla - 1982 - Journal of the American Oriental Society 102 (4):682.
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  48. Painting time.Daniel Birnbaum - 2009 - In Eva Ebersberger, Daniela Zyman & Thordis Arrhenius, Jorge Otero-Pailos: The Ethics of Dust. Dist. By Art Publishers.
     
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  49. Painting the world. Considerations on the thesis by Emanuele Severino.Luigi Cimmino - 2012 - Acta Philosophica 21 (2):239 - +.
     
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  50.  36
    Ancient Painting.R. M. Cook & J. M. C. Toynbee - 1955 - The Classical Review 5 (01):86-.
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