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1 — 50 / 767
  1. added 2019-01-15
    Painting, Nostalgia And Metaphysics: Merleau-Ponty’s Line.Galen A. Johnson - 1993 - Bulletin de la Société Américaine de Philosophie de Langue Française 5 (1):55-70.
  2. added 2018-12-25
    The Complexities of ‘Abstracting’ From Nature.Andrew Inkpin - 2012 - In Paul Crowther & Isabel Wünsche (eds.), Meanings of Abstract Art: From Nature to Theory. London: Routledge. pp. 255-269.
    This paper considers what it is to abstract from nature. Using examples from painting its first part examines the traditional contrast between abstraction and naturalistic representation, arguing that this relies on a specifically visual notion of representation, but not on what is natural or what is abstract. Its second part discusses examples from land art in which natural elements are incorporated in an artwork’s structure. An alternative view of modern art’s representational possibilities is outlined which highlights limitations of the specifically (...)
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  3. added 2018-10-28
    La rappresentazione pittorica.Elisa Caldarola - 2010 - Aesthetica Preprint 2010:11-19.
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  4. added 2018-10-28
    Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2010 - Proceedings of the European Society for Aesthetics 2:46-61.
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  5. added 2018-10-19
    The Checker-Shadow “Illusion”?Hanoch Ben-Yami - manuscript
    I introduce some distinctions concerning depiction and show that the checker-shadow phenomenon is not an illusion of the kind it is claimed to be. This might also help to think more clearly about other ‘illusory’ phenomena.
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  6. added 2018-07-24
    Realismus, materialismus a umění.Tomas Hribek - 2016 - Sešit Pro Umění, Teorii a Příbuzné Zóny 21:38-66.
    [Realism, Materialism, and Art] Recent years have seen the ascendance of a new trend in continental philosophy called “the speculative turn”, “speculative realism”, “continental materialism”, or “object-oriented ontology” (OOO). I focus on the work of one of the proponents of this new trend, Graham Harman, in particular his recent attempt to extend his “object-oriented” approach to art and aesthetics. In part 1, I start with a brief characterization of the new trend in terms of the shared opposition of all its (...)
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  7. added 2018-07-24
    Český Greenberg? Mukařovský a estetický formalismus.Tomas Hribek - 2015 - Sešit Pro Umění, Teorii a Příbuzné Zóny 19:6-26.
    [A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social interactions. (...)
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  8. added 2018-05-17
    Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4.
    My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history is (...)
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  9. added 2018-05-17
    Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
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  10. added 2018-05-06
    Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion.Jens Dam Ziska - 2018 - Journal of Aesthetics and Art Criticism 76 (2):225-234.
    I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...)
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  11. added 2018-03-08
    Disclosing Worldhood or Expressing Life? Heidegger and Henry on the Origin of the Work of Art.Steven DeLay - 2017 - Journal of Aesthetics and Phenomenology 4 (2):155-171.
    What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. (...)
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  12. added 2018-02-28
    Marcia Kupfer, The Art of Healing: Painting for the Sick and the Sinner in a Medieval Town. University Park, Pa.: Pennsylvania State University Press, 2003. Pp. Xviii, 203 Plus 117 Black-and-White Figures; Black-and-White Frontispiece and 1 Table. [REVIEW]Peregrine Horden - 2006 - Speculum 81 (2):549-551.
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  13. added 2018-02-28
    Erica Cruikshank Dodd, Medieval Painting in the Lebanon. Photographs by Raif Nassif Syriac Inscriptions by Amir Harrak. Architectural Plans by George Michell and Jean Yasmine. (Sprachen Und Kulturen des Christlichen Orients, 8.) Wiesbaden: Reichert, 2004. Pp. X, 450; Many Black-and-White and Color Plates, Many Black-and-White Figures, and 1 Map. €248. [REVIEW]Robin Cormack - 2006 - Speculum 81 (3):837-838.
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  14. added 2018-02-17
    Distant Presence.Christian Lotz - 2012 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 16 (1):86-111.
    In this essay, I offer thoughts on the constitution of images in art, especially as they are constituted in painting and in photography. Utilizing ideas from Gadamer, Derrida and Adorno, I shall argue that representation should be conceived as a performative concept and as an act of formation; i.e., as a process rather thanas something "fixed." My reflections will be carried out in connection with a careful analysis of Gerhard Richter's painting Reader, which is a painting of a photograph that (...)
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  15. added 2018-02-17
    Foldout Includes Foreshortening in Drawings by a Blind Man.John M. Kennedy & Sherief Hammad - 2011 - Rivista di Estetica 47:31-45.
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  16. added 2018-02-17
    What Drawing Draws On: The Relevance of Current Vision Research.Patrick Maynard - 2011 - Rivista di Estetica 47:9-29.
    At fiftieth anniversary of Gombrich’s Art and Illusion, an extended, highly critical review of current applications of cognitive and neuro sciences to understanding depiction, in an attempt to improve their directions by including mental content.
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  17. added 2018-02-17
    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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  18. added 2018-02-17
    The Light of Early Italian Painting. Paul Hills.John White - 1989 - Speculum 64 (1):176-178.
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  19. added 2018-01-10
    Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  20. added 2018-01-10
    De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan.Carlos Vanegas - 2014 - Co-herencia:79-98.
    The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence of the (...)
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  21. added 2017-11-17
    The Picture--Terra Incognita.P. -M. de Biasi - 1995 - Diogenes 43 (169):85-95.
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  22. added 2017-05-09
    WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art SEE this link for the images embeded in the text!! https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-about-what-is-art/ -/- Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes (...)
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  23. added 2017-05-05
    SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...)
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  24. added 2017-02-15
    Introducing Philosophy of Art: In Eight Case Studies.Derek Matravers - 2013 - Routledge.
    Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic (...)
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  25. added 2017-02-15
    The Art of Healing: Painting for the Sick and the Sinner in a Medieval Town. [REVIEW]Luke Demaitre - 2004 - The Medieval Review 3.
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  26. added 2017-02-15
    Classical Landscape Revisited.R. Osborne - 1996 - Topoi 6:49-64.
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  27. added 2017-02-15
    The Nagaraja: Symbol and Symbolism in Hindu Art and Iconography.Jane Duran - 1990 - Journal of Aesthetic Education 24 (2):37.
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  28. added 2017-02-15
    Old Age in the Chinese Mountain Landscape.Patrick McKee - 1990 - Journal of Aesthetic Education 24 (4):59.
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  29. added 2017-02-15
    Is There a Doctrine to This Landscape?Annette Barnes - 1989 - Journal of Aesthetic Education 23 (3):77-84.
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  30. added 2017-02-15
    Why Johnny Cant Paint Like Giotto+ Art-Historical Study.A. Silvers - 1986 - Journal of Aesthetic Education 20 (4):129-132.
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  31. added 2017-02-15
    Why Johnny Can't Paint Like Giotto.Anita Silvers - 1986 - Journal of Aesthetic Education 20 (4):128.
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  32. added 2017-02-15
    Louis M. La Favia, The Man of Sorrows: Its Origin and Development in Trecento Florentine Painting. A New Iconographic Theme on the Eve of the Renaissance. Rome: Sanguis, 1980. Paper. Pp. Xvii, 123 Plus 60 Black-and-White Plates. [REVIEW]Rona Goffen - 1985 - Speculum 60 (1):167-168.
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  33. added 2017-02-14
    5 The Edge (s) of Landscape: A Study in Liminology.Edward S. Casey - 2011 - In Jeff Malpas (ed.), The Place of Landscape: Concepts, Contexts, Studies. MIT Press. pp. 91.
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  34. added 2017-02-14
    The Practitioner's Landscape.Glenda H. Eoyang - 2004 - Emergence: Complexity and Organization 6.
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  35. added 2017-02-14
    Japanese Aesthetic Sense―Zen and Zen Calligraphy, Zen Painting, From Kamakura to Muromachi―.Iwamoto Hajime - 2004 - Fenomenologia. Diálogos Possíveis Campinas: Alínea/Goiânia: Editora da Puc Goiás 4:1-16.
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  36. added 2017-02-14
    On A Book Of Drawings By Ambrogio Figino.C. Mayer - 1958 - Bibliothèque d'Humanisme Et Renaissance 20 (2):266-276.
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  37. added 2017-02-13
    A Iconografia da Senhora de Fátima: Da Criação Ex Nihilo Às Composições Plásticas Dos artistasThe Iconography of Our Lady of Fatima: From Ex Nihilo to Plastic Compositions by Artists.Marco Daniel Duarte - 2010 - Cultura:235-270.
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  38. added 2017-02-13
    Landscape as Atmosphere. An Aspect of Japanese Sensibility.Ken-Ichi Sasaki - 2006 - Rivista di Estetica 46 (33):85-94.
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  39. added 2017-02-13
    Landscape and Still Life Representations of Static Scenes.Kendall Walton - 2005 - Rivista di Estetica 45 (29):105-116.
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  40. added 2017-02-13
    Before the Museum: Diderot and the Salon.David S. Ferris - 2001 - Rivista di Estetica 41 (17):173-180.
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  41. added 2017-02-13
    Landscape En Vogue.Nicole Uhrig - 2000 - Topos 32:6-11.
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  42. added 2017-02-13
    The French Nineteenth-Century Landscape.John House - 2000 - In Kate Flint & Howard Morphy (eds.), Culture, Landscape, and the Environment. Oxford University Press. pp. 131.
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  43. added 2017-02-13
    Reply to Pepper.Bessa Lominadze - 1971 - Chinese Studies in History 4 (4):260-262.
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  44. added 2017-02-12
    Meaning and Evolution of the Image of Trees in Chinese Landscape Paintings.Zheng Wen - 2011 - Journal of Aesthetic Education (Misc) 4:020.
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  45. added 2017-02-12
    Landscape Urbanism at the Architectural Association Landscape and Urbanism as Machinic Territories.Douglas Spencer - 2010 - Topos: European Landscape Magazine 71:64.
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  46. added 2017-02-12
    A Piece of the Great Wall That is Called the Holocaust.Hanna Kugler Weiss - 2010 - Rivista di Estetica 45:65-76.
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  47. added 2017-02-12
    The Unsettling Landscape: Landscape and Anxiety in the Garden of the House of Octavius Quartio.Sarah Brutesco - 2007 - Inquiry: The University of Arkansas Undergraduate Research Journal 8.
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  48. added 2017-02-12
    Figures of Alterity: French Realism and Its Others (Review).Denis M. Provencher - 2004 - Substance 33 (3):183-188.
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  49. added 2017-02-12
    Can Philosophy Speak About Life?İlham Dilman - 1992 - Royal Institute of Philosophy Supplement 33:109-123.
    Sometimes when artists talk about painting one finds what they have to say interesting: because they are talking about something they have lived with, something in which they find meaning. At other times one feels that it would be better for them to paint rather than talk about painting.
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  50. added 2017-02-11
    The Japanese Aesthetic Sense Ll ―On Zen Painting, Zenga and Their Lnfluence From the Momoyama Period to the Later Edo Period―.Iwamoto Hajime - 2005 - Fenomenologia. Diálogos Possíveis Campinas: Alínea/Goiânia: Editora da Puc Goiás 5:1-26.
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1 — 50 / 767