14 found
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Michael Newall [13]Michael John Newall [1]
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Michael Newall
University of Kent
Michael John Newall
University of Central Lancashire
  1.  34
    Is Seeing-In a Transparency Effect?Michael Newall - 2015 - British Journal of Aesthetics 55 (2):131-156.
    Philosophers of art use the term ‘seeing-in’ to describe an important part of our experience of pictures: we often ‘see’ a picture’s subject matter ‘in’ its surface. This paper proposes that seeing-in is illuminated by a perceptual phenomenon that has received extensive attention in perceptual psychology: the perception of transparency. It is generally accepted that transparency perception is governed by laws of ‘scission’. I argue that some instances of seeing-in can be straightforwardly understood as a kind of transparency effect, and (...)
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  2.  1
    A Philosophy of the Art School.Michael Newall - 2019 - New York: Routledge.
    *Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially (...)
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  3.  79
    Pictorial Experience and Seeing.Michael Newall - 2009 - British Journal of Aesthetics 49 (2):129-141.
    This paper proposes that pictorial experience, the experience that pictures give rise to when we understand them, involves the non-veridical experience of seeing the picture's subject matter. Using phenomenological analysis and material from philosophy of mind and perceptual psychology, it argues that both pictorial experience lacking awareness of the picture surface, such as illusion, and pictorial experience that includes this awareness, i.e. seeing-in, should be understood in this way.
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  4.  39
    A Restriction for Pictures and Some Consequences for a Theory of Depiction.Michael Newall - 2003 - Journal of Aesthetics and Art Criticism 61 (4):381–394.
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  5.  34
    Pictures, Colour and Resemblance.Michael Newall - 2006 - Philosophical Quarterly 56 (225):587–595.
    Resemblances between colour pictures and their subject-matter can be identified. I use insights from perceptual psychology to develop a description of these shared colour properties. While resemblances do exist, they do not support resemblance theories of depiction. Instead, the character of these resemblances is determined by the construction of our visual system, and is not necessary for depiction. These results support a theory of depiction which holds that our abilities of visual recognition are crucial to our ability to understand pictures.
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  6.  36
    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 has increasingly turned its attention (...)
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  7.  30
    Pictorial Resemblance.Michael Newall - 2010 - Journal of Aesthetics and Art Criticism 68 (2):91-103.
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  8.  1
    Double Portraiture.Eleen M. Deprez & Michael Newall - 2019 - In Hans Maes (ed.), Portraits and Philosophy. Routledge. pp. 81-96.
    This chapter examines the nature and artistic quality of double portraits. Double portraiture poses unexpected and interesting challenges to existing philosophical accounts of portraiture. We give an account of double portraiture as involving the representation of a significant relationship between two subjects, and an expression of its character. The account argues that a picture with two single portraits does not necessarily make a double portrait, and that a double portrait does not have to contain two single portraits. We then show (...)
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  9.  5
    Art and the Approval of Nature: Philosophical Reflections on Tom Roberts, Holiday Sketch at Coogee (1888).Michael John Newall - 2019 - Curator: The Museum Journal 62 (1):53-60.
    This paper, based on a talk given at the Art Gallery of New South Wales, is presented as an example of philosophy done in an art gallery. Its subject is Tom Roberts’ painting Holiday Sketch at Coogee (1888), and as well as responding directly to the painting in the environment of the gallery, it draws on the author's memories of seeing that painting in other times and places. It draws on these personal experiences to relate Roberts’ painting to a controversial (...)
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  10.  21
    Painterly and Planar: Wölfflinian Analysis Beyond Classical and Baroque.Michael Newall - 2015 - Journal of Aesthetics and Art Criticism 73 (2):171-178.
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  11.  27
    Picturing Pictures: Reply to Dilworth.Michael Newall - 2005 - Journal of Aesthetics and Art Criticism 63 (1):70–73.
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  12. Painting with Impossible Colours: Some Thoughts and Observations on Yellowish Blue.Michael Newall - 2021 - Perception 50 (2):129–39.
    This paper considers evidence, primarily drawn from art, that one kind of impossible colour, yellowish blue, can be experienced.
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  13.  5
    Titian: Love, Desire, Death.Michael Newall & Eleen M. Deprez - forthcoming - British Journal of Aesthetics.
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  14. What is a Picture?: Depiction, Realism, Abstraction.Michael Newall - 2011 - Palgrave-Macmillan.
    Machine generated contents note: -- List of figures -- Acknowledgements -- Introduction -- Convention -- Seeing and the Experience of Pictures -- A Theory of Depiction -- Resemblance -- Transparency and Resemblance -- Realism -- Varieties of Realism -- Abstraction -- Notes -- Index.
     
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