Bergsonian Vitalism and the Landscape Paintings of Monet and Cézanne: Indivisible Consciousness and Endlessly Divisible Matter
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
The European Legacy 16 (7):883 - 898 (2011)
From around the year 1900, the ideal of the equivalence of art (form) and nature (animated matter) was challenged when two concurring principles?homogeneous duration and heterogeneous moments?started to manifest themselves in the discrete attempts of artists to integrate being into art. As creative approaches to the perception and representation of nature, these diametrically opposed configurations find expression in the writings of the French philosopher Henri Bergson, mainly between 1889 and 1907. The notion of living forms in permanent transition, informed by evolutionary theory, found its social expression in a growing urban dynamism. Subsequently, the obsolete epistemological Apollonian principle of a central perspective in painting, based on a timeless, static Newtonian space, gave way to the Dionysian ontological principle?radically questioning the unity of being and form in the creative process. Initially, this change was particularly evident in the paintings of Claude Monet and Paul Cézanne. While Monet envisions a homogeneous space of instantaneous time (the separate moment), Cézanne's distinctive Post-Impressionist dynamic representations of continuous becoming can be read as contemporary pictorial counterparts of the Bergsonian concepts of duration, memory, and vital force. Thus, Bergson's psycho-physiological principle of endurance, in which perceptions and memories of distinct physical phenomena interpenetrate multitudinously, gradually becomes a dominant feature in the works of numerous artists who inherit Monet's and, especially, Cézanne's aesthetic notions
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
|Through your library||Configure|
Similar books and articles
Rebecca Hill (2008). Phallocentrism in Bergson: Life and Matter. Deleuze Studies 2 (Suppl):123-136.
Amy Ione (2000). An Inquiry Into Paul Cezanne: The Role of the Artist in Studies of Perception and Consciousness. Journal of Consciousness Studies 7 (8):57-74.
M. Podro (2010). Literalism and Truthfulness in Painting. British Journal of Aesthetics 50 (4):457-468.
Jesse Matz (2011). 'Quelque Romancier Hardi': The Literary Bergsonist. The European Legacy 16 (7):937 - 951.
Mark Antliff (2011). Shaping Duration: Bergson and Modern Sculpture. The European Legacy 16 (7):899 - 918.
Rudolf Bernet (2005). A Present Folded Back on the Past (Bergson). Research in Phenomenology 35 (1):55-76.
Richard Wollheim (2001). Richard Wollheim on the Art of Painting: Art as Representation and Expression. Cambridge University Press.
Joseph Margolis (2009). The Arts and the Definition of the Human: Toward a Philosophical Anthropology. Stanford University Press.
Elizabeth Prettejohn (2005). Beauty and Art, 1750-2000. Oxford University Press.
Steven Z. Levine (1978). Monet, Lumière, and Cinematic Time. Journal of Aesthetics and Art Criticism 36 (4):441-447.
Added to index2011-11-05
Total downloads5 ( #175,930 of 1,004,681 )
Recent downloads (6 months)1 ( #64,743 of 1,004,681 )
How can I increase my downloads?