When art develops to a certain extent, it is bound to be mixed with traces of religion, and art influenced by religion occupies an important position in the entire history of art development. Looking at the development history of Chinese and Western painting art, we can find that there are indeed many connections between religion and art. The spiritual transmission of religion is carried out using intuition through painting art, and its vital role is reflected in the long (...) history of human civilization. This paper studies the relationship between the philosophical fusion of the original aesthetics of Chinese and Western religious painting and contemporary painting by studying the development and characteristics of religious painting in China and the West. This paper studies the differences between Chinese and Western religious doctrines and how religious figure painting embodies divinity and secularized humanity in terms of painting methods and forms of expression. The study of the philosophical fusion of the original aesthetics of Chinese and Western religious paintings and its influence on contemporary paintings fills the gap in this aspect. (shrink)

Abstract:Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting’s ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different (...) media and its resulting reflexivity. Maurice Merleau-Ponty’s theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting. (shrink)

The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author's basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the relief based on Panofsky's iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling (...) a horse's tail aims to enrich the analysis of the interpretation. Both the narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh, a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism. This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and globalizing. (shrink)

The role of titles in perception of visual art is a topic of interesting discussions that brings together artists, curators, and researchers. Titles provide contextual cues and guide perception. They can be particularly useful when paintings include semantic violations that make them challenging for viewers, especially viewers lacking expert knowledge. The aim of this study is to investigate the effects of titles and semantic violations on eye movements. A total of 127 participants without expertise in visual art viewed 40 paintings (...) with and without semantic violations in one of three conditions: untitled, consistent titles and inconsistent titles. After each painting was viewed participants also rated liking and understanding. Our results suggest that titles affect the way paintings are viewed: both titled conditions were associated with shorter first fixation duration, longer saccade durations, and amplitudes and higher dynamic entropy than the untitled conditions. Titles were fixated on more frequently when presented alongside paintings with semantic violations than paintings without violations, and the percentage of fixations to titles was particularly high in the case of paintings with double inconsistencies. Also, we found that semantic violations attracted attention early on, whereas titles received attention later and inconsistencies in titles were processed even later. Finally, semantic violations were associated with higher dynamic entropy than paintings without violations. Our results demonstrate the importance of titles for processing of artworks, especially artworks that present a challenge for the viewers. (shrink)

In 1797 Friedrich Schlegel wrote philosophy of art usually lacks one of two things: either the philosophy, or the art. This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content and how philosophy can aid interpretation of the artwork. The discussion ranges (...) over political, ethical and religious concepts, such as apathy and irony, to standard problems in the philosophy of art, such as expression, style and depiction, as well as major movements in art history, such as Dadaism. Many of the contributors are distinguished in areas of philosophy other than aesthetics and are writing about art for the first time. All show how productive the engagement can be between philosophy, more generally, and art. (shrink)

Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It (...) not only provides new opportunities for reforming contemporary art education in China but also adds a new development direction for contemporary oil painting art in China. This article attempts to reveal the existence and artistic concept of violence in contemporary Chinese oil painting through the description and analysis of painting images and artists' emotional expression, combined with interviews with artists. Based on the development of contemporary Chinese society, the rise of new literary and artistic trends, and the influence of western painting, this paper analyses the historical causes of violence in contemporary Chinese oil painting, and examines the value of contemporary Chinese oil painting in terms of aesthetics and sociology. Therefore, establishing cultural core values is still the indispensable spiritual power of contemporary artists' artistic creation. (shrink)

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 famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work. (shrink)

Merleau-Ponty’s writings on the philosophy of painting, though widely influential and much discussed, remain enigmatic. In this paper I compare his views on painting with those of his older contemporary, Jacques Maritain, who also holds that painting can give us a non-conceptual insight into deep truths about things that are inaccessible to discursive thought. I argue that some ideas that are obscure and undeveloped in Merleau-Ponty are developed more clearly and fully in Maritain. Even where there (...) are significant differences between them, these are not as great as it might at first seem. This comparison can help us to see the ways in which both philosophers’ theories of art are important for understanding their philosophies as a whole. Furthermore, the views they hold in common can continue to suggest a plausible and fruitful way to think about art today. (shrink)

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 (...) – could offer to an understanding of paintings. The essay argues that Pierre Klossowski’s monumental drawing La Nef des fous (1990) provides an essential key for understanding the place of Hieronymus Bosch’s painting of the same title in History of Madness and the centrality of theories of similitude to Foucault’s thinking about visuality ca. 1960–74. The later significance of the figure of the artist for Foucault can be traced to these earlier writings on painting and madness. (shrink)

The abbot and apocalyptic theorist Joachim of Fiore (c. 1135–1202) created many enigmatic medieval diagrams. His Liber figurarum, produced in Cosenza and based on now-lost prototypes, consists of painted figurae that concretized the central tenets of his many apocalyptic treatises, sermons, hymns, and letters. These diagrammatic images are attributed to his hand or to the first generation of followers, and, collectively, they constitute a subcategory of apocalyptic art that elides narrative norms. This essay explores a single figura that features a (...) chromatic seven-headed dragon inspired by the twelfth chapter of the Book of Revelation. Analysis of the diagram and comparison to painted content in a contemporary polemical text reveals the figura’s pivotal role in the pictorial formation of anti-Islamic content in the twelfth and early-thirteenth centuries. (shrink)

Merleau-Ponty’s writings on the philosophy of painting, though widely influential and much discussed, remain enigmatic. In this paper I compare his views on painting with those of his older contemporary, Jacques Maritain, who also holds that painting can give us a non-conceptual insight into deep truths about things that are inaccessible to discursive thought. I argue that some ideas that are obscure and undeveloped in Merleau-Ponty are developed more clearly and fully in Maritain. Even where there (...) are significant differences between them, these are not as great as it might at first seem. This comparison can help us to see the ways in which both philosophers’ theories of art are important for understanding their philosophies as a whole. Furthermore, the views they hold in common can continue to suggest a plausible and fruitful way to think about art today. (shrink)

The ontology of visual artworks might be thought comparable to the ontology of other sorts of artifacts: a work of painting seems to be materially constituted by a particular canvas with paint on it, just as a spoon is constituted by a particular piece of metal. But recent developments have complicated the situation, requiring a new account of the ontology of contemporary art. These developments also shed light on the ontology of works from earlier historical eras. This article (...) discusses Artworks as Events, Artworks as Abstract Entities, and Artworks and Norms. (shrink)

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 (...) the painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. -/- The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike. (shrink)

In this essay I hope to make some new contributions to the philosophical opening occasioned by John Sallis’ articulation of an “elementology” more broadly and by his turn to Guo Xi’s exquisite Song Dynasty shan-shui scroll painting, Early Spring more particularly. I do so by bringing the remarkable writings by the American poet and thinker Gary Snyder, especially in relationship to his reading of the great Kamakura Zen Master Eihei Dōgen, directly into the fray of contemporary Continental discourses (...) on the elemental and the ecological. At the heart of this project is Snyder’s development of Dōgen’s elemental discourse of “mountains, rivers, and the great earth.” Like Sallis’ own efforts to recast language into a more elemental discourse, this essay will also focus on the manners of speaking specific to the philosophical and poetic self-presentation of the elements, including the relationship between the philosophical and the artistic as such. (shrink)

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 (...) invisible violence floated in Persian painting regardless of its extreme calm beauty and its different context from contemporary philosophy. Žižek categorizes the violence into three modes: visible subjective, and two modes of objective violence -Symbolic and Systematic - which are invisible and flow in latter layers. By going to deeper level of creation and content of Persian images which were illustrated in the court and on the command of rulers of the time, it is concluded that some elements of invisible violence such as strict law, visual symbols like “Qizilbash Hat”, the issue of the language, neighbor, fear of error, repetition of historical characters, extremism and nonviolent situation can be analyzed in the content or illustration of Persian Painting. (shrink)

The article describes manners in which history and culture influenced the details of the iconographic canon in the art of Orthodox church. The author was interested in relations existing between beliefs and their iconographic representation. Changes of the imagery of the damned in historical context portrayed in the Last Judgment icons painted in selected Orthodox churches in Romania came under the investigation of the author. Romanian icon painters using Byzantine characteristics of representation introduced some significant modifications into the canon. We (...) can divide icons of the Last Judgment into two groups – on the one hand we see sinners who rebelled against the moral canon of Christianity, on the other there are some nations unknown to Romanians, foreign people of various nationalities and faiths that can be grouped into a few categories. The largest of them is composed of pagans (Turks, Tartars and Arabs), infidels (Jews) and heretics (Armenians and Latin rite Catholics). With time this tradition turned into customary painting of the Last Judgment icons in Romania. It disappeared in the 20 th century, only to be reborn with the fall of the communist era in new historical contexts. Old enemies of the Orthodox were replaced by new ones, the representatives of the greatest totalitarian systems in the 20 th century – fascists, Nazis, communists; terrorists – the Muslims and their leader (Bin Laden) as well as contemporary Romanian politicians, who are being eternalized in the Last Judgment icons on the walls of Orthodox churches. (shrink)

The exhibition by the Whitney Museum of American Art of a painting of the lynched Emmett Till by a white woman artist in its Biennial survey exhibition in 2017 caused a controversy that went to the heart of the contemporary art world in the United States. There was a demand made by a group, writing on behalf of artists of color that the painting be removed and destroyed. That demand gave birth to an intensive and very public (...) conversation among important critics, members of academia, and artists. What is the role of identity in art creation and exhibition? Implicitly, what is the role of gatekeepers who can influence the direction of the art market through promoting the work of some artists and not others? What are the obligations of major institutions in shaping public opinion? I seek to test the public responses to the painting and its challengers against what can be seen with sustained observation in the painting itself. Do the issues inhere in the painting or was the painting captured for an external conversation? I hope that this is an example of what evidence that kind of observation can provide—a matter of interest not just in the discourses of art but also of evidence in the context of the law. (shrink)

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 to his state in relation to the discourse of mimicry and camouflage in nature, comparing his position to that of the invisible presences in the background in a perfect camouflage, referring to Roger Caillois’ interpretations. I look at his diagnosed psychiatric state of schizophrenia as the materialization of the meaning of being a Palestinian-Israeli in a life of fragmentation and rejection, by referring to Bhabha and Shammas. I relate to Deleuze and Guattari’s notions of schizophrenia as a cultural rebellion against the moderating mechanisms of cultural/national identification. I demonstrate how Nubani’s work and speech undermine the modalities of mainstream Israeli society, acting like a cultural insurgent, terrorizing Zionist axioms. While analysing Nubani’s iconography I identify several tropes, images and icons that serve as signifiers of his personal crisis and artistic development. I link Nubani’s eyes/ocelli images to Lacan’s discussion of ‘symbolic castration’ as the core of his personal becoming part of Israeli society and his collapse, the in-between desire to assimilate in the early stages of his life, and his current desire to fully live his life as a Palestinian. The text moves between his images and images from other sources that open Nubani’s world into the discourses of Western painting, schizophrenia, high Modernism, the postcolonial condition and so forth. The text is fragmented into eight pieces, following the schizophrenic break-up of Nubani’s personal state and his painted work. I read his work as a destabilizing agent, and identify visual references drawn from the wider context of art history, and specifically referring to masterpieces of the Israeli art canon. (shrink)

In appreciating paintings, what we experience is either a result of their medium or object, regardless of whether the object is an actual thing, a fictional thing, an internal emotion, an abstract idea, or something else. However, the conceptions of ‘betweenness’ in traditional Chinese aesthetics and ‘twofoldness’ in contemporary Western aesthetics tell us that our experience of paintings might not be simply from the object or the medium itself but rather from a relation between the two. This study considers (...) the intercultural value of the above concepts while examining how our aesthetic pleasure might derive from awareness of the object, the medium, and the play of our mind and body. (shrink)

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 (...) by artists. A skeptical conclusion follows regarding the use of such replicas as surrogates for the original painting. The second part of the paper concerns mechanically produced replicas, such as photographs and 3-D prints. On the basis of some of the claims made in the first part, I set conditions that mechanically produced replicas need to meet in order to function as aesthetic surrogates of an original. I argue that perfect aesthetic surrogates are either already available or at least possible. I conclude by considering two possible objections. (shrink)

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 (...) spectators negotiate painting's two perspectives: the absent scene represented by the picture's marked surface and the external point of view of a beholder, standing in real space. The essay argues that if the imaginative engagement provided by an internal spectator (see Wollheim) renders the picture plane transparent, so that we might enter the virtual space of the painting, then in paintings integrated into their architectural contexts the surface plays a semantic role in both connecting and separating different realms. If the picture surface disappears for the internal spectator, then for works integrated into their architectural settings its status is heightened and negated as a threshold separating spatiotemporal realms. The essay challenges semiotic accounts of painting. While linguistic derived semiotic accounts negate a spatial engagement, in Hubert Damisch's proposal that painting is a form of thinking, structure emerges from within the loop of the perspective paradigm. The essay argues, however, that if certain paintings 'think', they do so only in the sense that thought permeates a phenomenological whole where perception and imagination merge. The essay is a development of 'A spatiality of situation', published by Art In-sight, Filmwaves magazine (no. 31, 2006), guest edited with Adam Kossoff. A related paper, 'Levels of Reality', was given at the 'Real Things: matter, materiality, representation' conference at the University of York, 5-8 July 2007. (shrink)

This question does not mean: what has a philosopher to learn from paintings? Rather it is: what metaphysical implications can be derived from the consideration of the art of painting? Since, however, this consideration is not a contemplation but a theorizing, we must understand Gilson's question to be: what metaphysical implications can be suggested by a theory about the creative activity of painters and about the kind of entity a painting is?

About the book: One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right (...) method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting. (shrink)

Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this (...) essay I argue that the philosophies of Kupka and Husserl are largely compatible. This is not because the two use the same terminology, but because they virtually mean and do the same thing in their respective fields. Even where there are significant differences between them, these are not as great as it might at first seem. In the essay’s conclusion I sum up some of the most significant implications their compatible theories have for the philosophy of art and for various theories of art today. (shrink)

Contemporary phenomenological discussions on relationship between painting and nothingness have mainly employed Sartrean and Heideggerian notions of nothingness. In this paper, I propose another perspective by discussing the possibility of pictorially depicting Levinas’s notion of the nothingness of being, which he develops in his early works in terms of the il y a. For Levinas, the il y a intimates itself in moments like insomnia, where the world as a horizon of possibilities slips away and all there is (...) left is an experience of present absence, an enchainment to the night, which renders the insomniac utterly impotent and exposed. The possibility of eliciting an experience of the il y a through artistic means has been extensively discussed in literary theory, but so far there has been hardly any discussion regarding the pictorial depiction of the il y a. In this paper, I suggest that the atmospheric interior paintings of the Danish artist Vilhelm Hammershøi exemplify par excellence a painterly rendering of the experience of Levinasian nothingness. Through an analysis of Hammershøi’s compositional techniques, I show how figurative means can bring about an anonymous, non-figurative presence which eludes reification. (shrink)

René Descartes, one of the dominant figures in the history of philosophy, has been accused of one of the most obvious mistakes in the history of philosophy — the so-called cartesian circle. It is my goal in this paper to arrive at an understanding of Descartes's work that attributes to him a theory that should be of philosophical interest to contemporary epistemologists, is consistent with, and suggested by, the actual text, and avoids the circle.I begin with a brief explanation (...) of the supposed circle. In his search for absolute certainty Descartes requires that in order for a proposition to be an instance of knowledge it must be indubitable for the knower, and in order for it to be indubitable for the knower she must be able to eliminate any possibility of the belief's being false. It is to provide a means to satisfy this requirement that Descartes proposes the principle whatever is clearly and distinctly perceived cannot be false.And it seems that Descartes's defense of CD traps him in the circle. (shrink)

The British government's White Paper on science together with government research council reports are used as a basis for critiquing current science policy and its intensifying orientation, British and worldwide, towards industrial and military development. The critique draws particulary on Plato and Bacon as yardsticks to address who science is for, what values it honours and where current policy departs from imperatives of socio-ecological justice. Metaphors of the ' Emperor 's new clothes' and incremental spectral shift in attitude help illuminate (...) both the problems and ways forward. The paper calls for a re-integration of classical perspectives with added insights, often ecofeminist, from philosophy, poetics and a theology of reverence. Predication on the values of love, interconnectedness and orientation towards childrens' all-round development should be central to curricular reform. Consistent with the views of Plato, the original founder of the Academy, the utilitarian role of science ought to be balanced with a contemplative role of science as the art of knowing ourselves in relation to nature. Only with such a holistic academic approach can it adequately rise to providing a pedagogy of authentic human development, service to the poor and remedies, rather than contribution, to the ongoing destruction of nature. (shrink)

This essay develops a critical interpretation of Gadamer’s account of Renaissance painting. My point of departure is a brief reference in Truth and Method to Leon Battista Alberti, the Italian Renaissance humanist who developed an influential mathematical theory of perspective in painting. Through an explication of Gadamer’s critique of Alberti and of perspective generally, I argue that what is ultimately at stake in Gadamer’s confrontation with Alberti is Gadamer’s opposition to relativism and subjectivism and his downgrading of the (...) importance of the artistic medium for evaluating the truth-claim of an artwork. Against the theory of perspective, Gadamer contends that artworks make substantive claims to truth to which we interpretatively respond. By emphasizing this theme, our discussion resonates with contemporary “hermeneutical realism.”. (shrink)

Although the three sections contain essays written from a wide spectrum of viewpoints, they emphasize, respectively, the important connections of Merleau-Ponty's thought to that of Derrida and Levinas, the Husserlian heritage and complex implications of his philosophy of material existence, and the relation of his philosophy of painting to contemporary abstract art. A distinguishing feature of this collection is its emphasis on contemporaneity.

Comparative study of wall paintings in churches dedicated to St Clement in Stará Boleslav and Rome reveals the wide international networking of contemporary agents in artistic transfer. The importance of late twelfth-century wall paintings in St Clement’s in Stará Boleslav – among Bohemia’s foremost medieval monuments – is underscored by their close proximity to the place of the martyrdom and the center of the cult of the country’s patron, St Wenceslas. The Bohemian church’s consecration echoes the Cyril and Methodius (...) mission, resonating with the transfer of St Clement’s relics from the Crimea to Central Europe, then to the Basilica of San Clemente in Rome. The frescoes in the Roman basilica’s lower church have been recognized as an important source for the concept of the paintings. The extensive, and iconographically exceptional, image cycle of St Clement’s life was commissioned by a high-ranking cleric, possibly the Salzburg archbishop, Adalbert of the Přemyslid family. The recent fresco restoration survey has yielded insights into the painting technique and will become the basis for the future rescue and rehabilitation of the Romanesque church’s wall decoration. (shrink)

The realist injunction to attend to the ‘realities of politics’ when we do political philosophy, though obviously appropriate, is highly platitudinous. By drawing on the underappreciated realist insights of Isaiah Berlin, Stuart Hampshire and Hannah Arendt, we elaborate a neglected distinction between two antagonistic conceptions of political reality – the realism of surface and the realism of depth – and consider its implications for the recent realist turn. We illustrate how that distinction reveals some neglected tensions and incoherencies within (...) class='Hi'>contemporary realism and go some way towards untangling and addressing these. Specifically, we enrich the realist charge and highlight two directions which realist scholarship can pursue in its endeavour to offer a meaningful alternative to moralism: an emphasis on i) Vichian fantasia – a kind of knowledge which entails historical awareness but also sensitivity to philology; and ii) suffering and injustice as a basis for critique and for developing a suitable political sphere. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 9, Page 1277-1301, November 2022. The realist injunction to attend to the ‘realities of politics’ when we do political philosophy, though obviously appropriate, is highly platitudinous. By drawing on the underappreciated realist insights of Isaiah Berlin, Stuart Hampshire and Hannah Arendt, we elaborate a neglected distinction between two antagonistic conceptions of political reality – the realism of surface and the realism of depth – and consider its implications for the recent realist turn. We (...) illustrate how that distinction reveals some neglected tensions and incoherencies within contemporary realism and go some way towards untangling and addressing these. Specifically, we enrich the realist charge and highlight two directions which realist scholarship can pursue in its endeavour to offer a meaningful alternative to moralism: an emphasis on i) Vichian fantasia – a kind of knowledge which entails historical awareness but also sensitivity to philology; and ii) suffering and injustice as a basis for critique and for developing a suitable political sphere. (shrink)

The realist injunction to attend to the ‘realities of politics’ when we do political philosophy, though obviously appropriate, is highly platitudinous. By drawing on the underappreciated realist insights of Isaiah Berlin, Stuart Hampshire and Hannah Arendt, we elaborate a neglected distinction between two antagonistic conceptions of political reality – the realism of surface and the realism of depth – and consider its implications for the recent realist turn. We illustrate how that distinction reveals some neglected tensions and incoherencies within (...) class='Hi'>contemporary realism and go some way towards untangling and addressing these. Specifically, we enrich the realist charge and highlight two directions which realist scholarship can pursue in its endeavour to offer a meaningful alternative to moralism: an emphasis on i) Vichian fantasia – a kind of knowledge which entails historical awareness but also sensitivity to philology; and ii) suffering and injustice as a basis for critique and for developing a suitable political sphere. (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the (...) aesthetic and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

Certain artworks appear to have multiple meanings that are also contradictory. In some instances they have attracted so much attention that they are effectively out of the reach of individual monographs. These artworks are monstrous.One reason paintings may become monstrous is that they make unexpected use of ambiguation. Modern and postmodern works of all sorts are understood to be potentially ambiguous ab ovo, but earlier--Renaissance and Baroque--works were constrained to declare relatively stable primary meanings. An older work may have many (...) "layers" of meaning, but it is normally expected to declare its principal message or subject matter, together with its allegiance to one idea or theme. Contemporary historical interpretation expects those stable starting meanings, even as it relishes the exfoliating ambiguities that may come afterward. So when the interpretive apparatus of art history runs up against premodern paintings that intentionally work against unambiguous primary meanings, it can generate a potentially incoherent literature.Some of the most monstrous pictures are Leonardo's Last Supper, Michelangelo's Sistine Ceiling, Watteau's fête galante paintings, Botticelli's Primavera, and Giorgione's Tempesta. The interpretive trichotomy of "Subject," "Not-Subject," and "Anti-Subject" is employed to talk about the ambiguity and polysemy of these monstrous works.This interpretive trichotomy helps order unruly accounts of the most complex artworks. In so doing it illuminates not only some monstrous pictures but a general area of historical interpretation: how to speak of the meaning of a created work in a way that does justice to its complexity and internal tensions. (shrink)