Search results for 'Painting Philosophy' (try it on Scholar)

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  1. Earle Jerome Coleman (1978). Philosophy of Painting by Shih-Tʻao: A Translation and Exposition of His Hua-Pʻu (Treatise on the Philosophy of Painting). Mouton.score: 180.0
  2. Christian Lotz (2009). Representation or Sensation? A Critique of Deleuze’s Philosophy of Painting. Sympsium. Canadian Journal for Continental Philosophy 13 (1):59-73.score: 162.0
    In this paper I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the (...)
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  3. Michael Newall (2014). Painting and Philosophy. Philosophy Compass 9 (4):225-237.score: 150.0
    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 (...)
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  4. Adam Glover (2013). Painting Borges: Philosophy Interpreting Art Interpreting Literature by Jorge J. E. Gracia (Review). The Pluralist 8 (2):106-113.score: 144.0
    Montaigne said it in the sixteenth century, and Plato's Ion said it long before: we are but interpreters of interpretations. Jorge J. E. Gracia's Painting Borges: Philosophy Interpreting Art Interpreting Literature rests upon the assumption that this somewhat plaintive verdict on the inescapability of interpretation is in fact an occasion for celebration. For various reasons—some of which I will discuss below—Painting Borges is a welcome addition to the field of interpretation theory and will be of interest not (...)
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  5. Ning Yeh (1981). The Art of Chinese Brush Painting: Ning Yeh's First Album: An Introduction to Fundamental Philosophy and Basic Subjects. N. Yeh.score: 132.0
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  6. James Gordon Place (1976). The Painting and the Natural Thing in the Philosophy of Merleau-Ponty. Philosophy and Social Criticism 4 (1):75-91.score: 126.0
  7. Maurice Merleau-Ponty (1993). The Merleau-Ponty Aesthetics Reader: Philosophy and Painting. Northwestern University Press.score: 120.0
    PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...
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  8. Paul M. Laporte (1947). Attic Vase Painting and Pre-Socratic Philosophy. Journal of Aesthetics and Art Criticism 6 (2):139-152.score: 120.0
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  9. Darren Ambrose (2006). Deleuze, Philosophy, and the Materiality of Painting. Symposium 10 (1):191-211.score: 120.0
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  10. David Carrier (1994). The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s. Penn State University Press.score: 120.0
    Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the work of Jean Baudrillard, Walter Benjamin, T. J. Clark, and Jacques Derrida.
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  11. Galen A. Johnson (1993). The Merleau-Ponty Aesthetics Reader: Philosophy and Painting. Northwestern University Press.score: 120.0
  12. Adam Glover (2013). Review Painting Borges: Philosophy Interpreting Art Interpreting Literature Gracia Jorge J. E. State U of New York P Albany. The Pluralist 8 (2):106-113.score: 120.0
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  13. Bernard Zelechow (1994). A Painting is a Painting? Some Cracks in the Armour of Formalist Aesthetics and Analytic Philosophy. History of European Ideas 18 (1):79-85.score: 120.0
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  14. Paul Crowther (1988). Merleau-Ponty: Vision and Painting in Art and Philosophy: Mutual Connections and Inspirations. Dialectics and Humanism 15 (1-2):107-118.score: 120.0
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  15. Jorge J. E. Gracia (2012). Painting Borges: Philosophy Interpreting Art Interpreting Literature. State University of New York Press.score: 120.0
    A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.
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  16. James Maffie (2000). 'Like a Painting, We Will Be Erased; Like a Flower, We Will Dry Up Here on Earth': Ultimate Reality and Meaning According to Nahua Philosophy in the Age of Conquest. Ultimate Reality and Meaning 23 (4):295-318.score: 120.0
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  17. Nigel Wentworth (2004). The Phenomenology of Painting. Cambridge University Press.score: 114.0
    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 (...)
     
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  18. Richard Wollheim (2001). Richard Wollheim on the Art of Painting: Art as Representation and Expression. Cambridge University Press.score: 102.0
    Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection of new essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. (...)
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  19. Ronald Bogue (2003). Deleuze on Music, Painting, and the Arts. Routledge.score: 96.0
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  20. Joseph Margolis (2009). The Arts and the Definition of the Human: Toward a Philosophical Anthropology. Stanford University Press.score: 84.0
    The definition of the human -- Perceiving paintings as paintings I -- Perceiving paintings as paintings II -- "One and only one correct interpretation" -- Toward a phenomenology of painting and literature -- "Seeing-in," "make-believe," transfiguration" : the perception of pictorial representation -- Beauty and truth and the passing of transcendental philosophy.
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  21. Harsha V. Dehejia (2000). Despair and Modernity: Reflections From Modern Indian Painting. Motilal Banarasidass Publishers.score: 84.0
    Dehejia has tried to create a place within the main frame of culture and philosophy of Indian art for a legitimate analytic theory called despair.
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  22. Jean-Luc Marion (2004). The Crossing of the Visible. Stanford University Press.score: 84.0
    Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as “phenomenality” in general. In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his (...)
     
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  23. Stephen Bann (1970). Experimental Painting: Construction, Abstraction, Destruction, Reduction. London,Studio Vista.score: 78.0
     
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  24. Véronique Marion Fóti (ed.) (1996). Merleau-Ponty: Difference, Materiality, Painting. Humanities Press.score: 78.0
  25. Diane Kelder (1976). Aspects of "Official" Painting and Philosophic Art, 1789-1799. Garland Pub..score: 78.0
     
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  26. Jichao Liu (2011). You Guan: Zhongguo Gu Dian Hui Hua Kong Jian Ben Ti Quan Shi = Wandering-Observing: Ontology and Interpretation of Space in Traditional Chinese Painting. Sheng Huo, du Shu, Xin Zhi San Lian Shu Dian.score: 78.0
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  27. Iñigo Kristien Marcel Bocken & Tilman Borsche (eds.) (2010). Kann Das Denken Malen?: Philosophie Und Malerei in der Renaissance. Fink.score: 70.0
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  28. Adam Jankowski, Robert Lettner, Burghart Schmidt, Dieter Ronte, Anne Marie Freybourg & Philipp Stadler (eds.) (2010). Adam Jankowski, Robert Lettner, Burghart Schmidt: Philosophie der Landschaft: Zwischen Denken Und Bild. Jovis.score: 70.0
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  29. Alan Paskow (2004). The Paradoxes of Art: A Phenomenological Investigation. Cambridge University Press.score: 66.0
    In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. No one would assert that the paintings themselves are in our heads; nor would anyone deny that they are (...)
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  30. Andrew Benjamin (2011). On the Image of Painting. Research in Phenomenology 41 (2):181-205.score: 66.0
    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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  31. Gillian Rose (1996). Mourning Becomes the Law: Philosophy and Representation. Cambridge University Press.score: 66.0
    In Mourning Becomes the Law, Gillian Rose takes us beyond the impasse of post-modernism or 'despairing rationalism withour reason'. Arguing that the post-modern search for a 'new ethics' and ironic philosophy are incoherent, she breathes new life into the debates concerning power and domination, transcendence and eternity. Mourning Becomes the Law is the philosophical counterpart to Gillian Rose's highly acclaimed memoir Love's Work. She extends similar clarity and insight to discussions of architecture, cinema, painting and poetry, through which (...)
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  32. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.score: 66.0
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms (...)
     
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  33. Andrew E. Benjamin (ed.) (1995). Complexity: Architecture, Art, Philosophy. Distributed to the Trade in the United States of America by National Book Network.score: 66.0
    JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. (...)
     
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  34. Hugh J. Silverman (ed.) (1990). Postmodernism: Philosophy and the Arts. Routledge.score: 66.0
    The essays collected here present a cross section of the debates on postmodernism being waged in philosophy and the arts. Some contributors raise general questions about postmodernism, for example, its language and its politics. Others offer specific readings of architecture, painting, literature, theatre, photography, film, and television.
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  35. Kate Abramson (2007). Hume's Distinction Between Philosophical Anatomy and Painting. Philosophy Compass 2 (5):680–698.score: 60.0
    Although the implications of Humes distinction between philosophical anatomy and painting have been the subject of lively scholarly debates, it is a puzzling fact that the details of the distinction itself have largely been a matter of interpretive presumption rather than debate. This would be unproblematic if Humes views about these two species of philosophy were obvious, or if there were a rich standard interpretation of the distinction that we had little reason to doubt. But a careful review (...)
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  36. Cynthia A. Freeland (2010). Portraits and Persons: A Philosophical Inquiry. Oxford University Press.score: 60.0
    Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...
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  37. Bruce V. Foltz (2006). The Resurrection of Nature: Environmental Metaphysics in Sergei Bulgakov's Philosophy of Economy. Philosophy and Theology 18 (1):121-142.score: 60.0
    Although equal in power to other facets of the rich cultural ferment of modern Russia that have profoundly influenced Western civilization—such as painting, literature, drama, and politics—the authentic legacy of twentieth-century Russian philosophy has until recently been eclipsed by Soviet ideological dominance. Of the important philosophers drawing upon the characteristically Russian synthesis of Ancient Neoplatonism, German Idealism, and Byzantine spirituality, Sergei Bulgakov is outstanding, and his work has important implications for our contemporary thinking about the relationship between humanity (...)
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  38. Christian Lotz (2012). Distant Presence: Representation, Painting and Photography in Gerhard Richter’s Reader. Painting and Photography in Gerhard Richter’s Reader,” Symposium. Canadian Journal for Continental Philosophy 16 (1):87-111.score: 60.0
    An essay concerning the representation of images in art, photography, and painting concerning analysis of Gerhard Richter's painting reader. It offers a debate that representation should be regarded as an act of formation and a performative concept. The author presents analysis of painting which leads the reader into the problem of painted images, such as the constitution of an image by a complex relationship among memory, reading, and blindness.
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  39. Anne Élisabeth Sejten (2012). Écarts léonardiens de Paul Valéry: l'esprit sensible. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 5 (1).score: 60.0
    Demonstrating the importance of the circumstantial writings by Paul Valéry, the present essay points out his very first “commission” on Leonardo da Vinci as emblematic of a new sensitive philosophical reflexiveness. In fact, Valéry kept returning to the great renaissance phenomenon of Leonardo, in his twisted Introduction à la Méthode de Léonard de Vinci (1894), rewritten some 25 years later with Note et digression (1919), as well in his staging of philosophers and artists in Léonard et les philosophes (1929). The (...)
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  40. Miriam Iacomini (2008). Le Parole E le Immagini: Saggio Su Michel Foucault. Quodlibet.score: 60.0
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  41. Xiangzhou Tai (2011). Yang Guan Chui Xiang: Shan Shui Hua de Guan Nian Yu Jie Gou Yan Jiu. Zhonghua Shu Ju.score: 60.0
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  42. Dale Jacquette (ed.) (1996). Schopenhauer, Philosophy, and the Arts. Cambridge University Press.score: 54.0
    This collection brings together thirteen new essays by some of the most respected contemporary scholars of Schopenhauer's aesthetics from a wide spectrum of philosophical perspectives. The dynamics of the empirical will and Will as a thing-in-itself in the interplay of Schopenhauer's metaphysics and philosophy of fine art has important implications for the freedom, salvation, and tragic suffering of the artist, the representation of Platonic Ideas in art, and the role of artistic inspiration, emotion, and aesthetic pleasure in the beautiful (...)
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  43. Andrew E. Benjamin (1991). Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference. Routledge.score: 54.0
    Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon's use (...)
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  44. Robert B. Pippin (2006). Philosophy is its Own Time Comprehended in Thought. Topoi 25 (1-2):85-90.score: 54.0
    So much philosophy is so unavoidably guided by intuitions, and such intuitions are so formed by examples, and such examples must of necessity present so cropped and abstract a picture of an instance or event or decision, that, left to its traditional methods, philosophy might be ill-equipped on its own to answer a question about the true content of an historical ideal like ``autonomy'', or authenticity or ``leading a free life''. One needs to bring so many factors into (...)
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  45. Stephen Davies (2006). The Philosophy of Art. Blackwell Pub..score: 54.0
    Written with clarity, wit, and rigor, The Philosophy of Art provides an incisive account of the core topics in the field. The first volume in the new Foundations of the Philosophy of the Arts series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts (such as literature, music or painting). Presents a clear and insightful introduction to central topics and on-going debates in the philosophy (...)
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  46. Vlad Ionescu (2011). Deleuze's Tensive Notion of Painting in the Light of Riegl, Wöölfflin and Worringer. Deleuze Studies 5 (1):52-62.score: 54.0
    Deleuze's Logique de la sensation is not a canonical art historical interpretation of Francis Bacon's painting and even less an illustration of Deleuze's philosophy. It is better read as a prolegomena to a semiotics of plastic art in which the visual image is related to the dialectics of touch and vision. These issues feature strongly in the art theories of Aloïïs Riegl, Wilhelm Worringer and Heinrich Wöölfflin. This article presents a comparative approach to the relation between Deleuze's and (...)
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  47. Ken Wilder, Negotiating Painting's Two Perspectives: A Role for the Imagination.score: 54.0
    This 4000 word essay was selected for a special issue of 'Image & Narrative' (Issue 18, September 2007), on 'Thinking Pictures', guest edited by Hanneke Grootenboer, author of 'The Rhetoric of Perspective' (University of Chicago Press, 2005). 'Image & Narrative' is a peer-reviewed e-journal on visual narratology, with essays reviewed by at least two members of the editorial board. The essay addresses contemporary arguments on spectatorship within the philosophy of art. It examines different ways by which internal and external (...)
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  48. Stephen Bann (2010). Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting. Journal of the Philosophy of History 4 (2):154-171.score: 54.0
    The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, (...)
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  49. Virginia Worley (2012). Painting with Impasto: Metaphors, Mirrors, and Reflective Regression in Montaigne's “of the Education of Children”. Educational Theory 62 (3):343-370.score: 54.0
    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 (...)
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