Results for 'Painting'

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  1. 30,000 Bc: Painting Animality. Deleuze & Prehistoric Painting - 2006 - Angelaki 11 (2):137 – 152.
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  2. Deleuze on Music, Painting and the Arts.Ronald Bogue - 2003 - Routledge.
    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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  3. ‘The Painting Can Be Fake, but Not the Feeling’: An Overview of the Vietnamese Market Through the Lens of Fake, Forgery and Copy Paintings.Ho Manh Toan, Thu-Trang Vuong, Hong-Kong T. Nguyen, Manh-Tung Ho & Quan-Hoang Vuong - manuscript
    A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...)
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  4.  9
    Painting Ethics: Death, Love, and Moral Vision in the Mahāparinibbāna.Anne Ruth Hansen - 2016 - Journal of Religious Ethics 44 (1):17-50.
    This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death (...)
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  5. Portraits in Painting and Photography.Cynthia Freeland - 2007 - Philosophical Studies 135 (1):95 - 109.
    This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...)
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  6.  37
    The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice.Hyunkyoung Shin - 2018 - Journal of Aesthetic Education 52 (3):56.
    This paper examines East Asian literati’s sisŏhwa (poetry, calligraphy and painting) mainly done by ink and wash painting and focuses on their painting theories related to integrative learning and artistic practice. The literati expressed their philosophical ideas using visual and textual language according to Illyul theory based on the Sŏhwa Same Origin theory. They delivered their intentions through symbolic meaning of the visible in terms of the Uisang theory, and put emphasis on ki in their pictorial space (...)
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  7.  75
    Representation or Sensation? A Critique of Deleuze’s Philosophy of Painting.Christian Lotz - 2009 - Sympsium. Canadian Journal for Continental Philosophy 13 (1):59-73.
    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 non-intentional (...)
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  8.  85
    Representing Place: Landscape Painting and Maps. [REVIEW]C. E. Emmer - 2004 - Review of Metaphysics 57 (3):610-612.
    The book has three main parts. Part 1, “Painting the Land”, opens by considering the emergence of landscape painting in the West from decorative pictures and then displays the possibilities for the sublime which were opened up when landscape painting per se had finally emerged. The painters who receive the most detailed discussion are Fitz Hugh Lane, Thomas Cole, and John Constable. Casey notes that the recent appearance of landscape painting in Western culture is a local (...)
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  9.  50
    Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting.Stephen Bann - 2010 - Journal of the Philosophy of History 4 (2):154-171.
    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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  10.  28
    In-Between Painting and Music—or, Thinking with Paul Klee and Anton Webern.Marcia Sá Cavalcante Schuback - 2013 - Research in Phenomenology 43 (3):419-442.
    The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is understood (...)
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  11.  17
    Paul Klee’s Originary Painting.Alejandro A. Vallega - 2013 - Research in Phenomenology 43 (3):462-474.
    Paul Klee’s sense of modern art and his own painting as the channeling of the originary movement of life leads to an insight beyond modern art, and back towards such dynamic cosmological experiences as that of the Onas people of Patagonia. In their daily life and their rituals their painted bodies expressed the living force of their cosmos, an originary energy that occurred at the limit of what one may call art and nature. In engaging Klee’s painting and (...)
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  12. The Phenomenology of Painting.Nigel Wentworth - 2004 - Cambridge University Press.
    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 expressive (...)
     
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  13.  28
    Review Of: Painting as an Art by Richard Wollheim. [REVIEW]Joseph Margolis - 1989 - Journal of Aesthetics and Art Criticism 47 (3):281-284.
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  14. Imagination in Non-Representational Painting.Andreas Elpidorou - 2010 - In Jonathan Webber (ed.), Reading Sartre: On Phenomenology and Existentialism. Routledge.
  15. Painting as an Art.Richard Wollheim - 1987 - Thames & Hudson.
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  16. Representation in Painting and in Consciousness.Keith Lehrer - 2004 - Philosophical Studies 117 (1-2):1-14.
  17. Absorption and Theatricality: Painting and Beholder in the Age of Diderot.M. FRIED - 1980 - University of California Press.
     
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  18.  33
    Plato and Greek Painting.Eva C. Keuls - 1978 - Brill.
    INTRODUCTION Any scholar undertaking to add yet another book title to the already virtually uncontrollable bibliography on Plato needs justification. ...
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  19. The Death of Painting (After Plato).Ryan Drake - 2011 - Research in Phenomenology 41 (1):23-44.
    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 (...)
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  20.  11
    Bilingual and Intersemiotic Representation of Distance in Chinese Landscape Painting: From Yi to Yi.Chunshen Zhu & Chengzhi Jiang - 2018 - Semiotica 2018 (225):293-311.
    Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 293-311.
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  21.  47
    Distant Presence: Representation, Painting and Photography in Gerhard Richter’s Reader.Christian Lotz - 2012 - Painting and Photography in Gerhard Richter’s Reader,” Symposium. Canadian Journal for Continental Philosophy 16 (1):87-111.
    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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  22.  13
    Painting and Reality.Ronald W. Hepburn - 1957 - Philosophical Quarterly 10 (38):90.
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  23.  21
    Shades—of Painting at the Limit.John Sallis - 1998 - Indiana University Press.
    Highly recommended." —Choice "This fascinating book by one of the more original voices writing philosophy in English poses questions about the nature of the visible and invisible, sensible and intelligible." —Dennis Schmidt What is it ...
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  24. To Destroy Painting.Louis Marin - 1995
     
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  25.  26
    Color and Light in Painting.J. S. - 1942 - Journal of Philosophy 39 (5):137-138.
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  26.  14
    The Peircean Order of Signification and its Encoding System in Chinese Landscape Painting.Lian Duan - 2018 - Semiotica 2018 (221):199-218.
    Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 221 Seiten: 199-218.
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  27. Experimental Painting: Construction, Abstraction, Destruction, Reduction.Stephen Bann - 1970 - London: Studio Vista.
     
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  28. High Art Charles Baudelaire and the Origins of Modernist Painting.David Carrier - 1996
     
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  29.  24
    Philosophy of Painting by Shih-Tʻao: A Translation and Exposition of His Hua-Pʻu (Treatise on the Philosophy of Painting).Earle Jerome Coleman - 1978 - Mouton.
  30.  4
    Despair and Modernity: Reflections From Modern Indian Painting.Harsha V. Dehejia - 2000 - Motilal Banarasidass Publishers.
    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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  31. Aretino a Dialogue on Painting : 1770.Lodovico Dolce & W. Brown - 1970 - Scolar Press.
     
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  32. The World Around the Chinese Artist Aspects of Realism in Chinese Painting.Richard Edwards - 2000
     
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  33. On Art and Unity a Study in Aesthetics Related to Painting.Tryggve Emond - 1964 - Gleerups.
     
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  34. Merleau-Ponty: Difference, Materiality, Painting.Véronique Marion Fóti (ed.) - 1996 - Humanities Press.
  35. Painting and Reality.Etienne Gilson - 1957 - Meridian Books.
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  36. Conceptual Art and Painting Further Essays on Art & Language.Charles Harrison - 2001
     
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  37. Concerning the Spiritual in Art and Painting in Particular, 1912.Wassily Kandinsky, Michael Sadleir & Francis Golffing - 1964 - G. Wittenborn.
     
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  38. Aspects of "Official" Painting and Philosophic Art, 1789-1799.Diane Kelder - 1976 - Garland.
     
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  39. The Purpose of Painting.Lynton Lamb - 1936 - Oxford University Press UK.
     
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  40. You Guan: Zhongguo Gu Dian Hui Hua Kong Jian Ben Ti Quan Shi = Wandering-Observing: Ontology and Interpretation of Space in Traditional Chinese Painting.Jichao Liu - 2011 - Sheng Huo, du Shu, Xin Zhi San Lian Shu Dian.
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  41. Drawing, Painting, and Print-Making.Patrick Maynard - 2009 - In Robert Hopkins (ed.), Blackwell Companion to Aesthetics. Wiley-Blackwell.
    A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
     
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  42. The Exile's Return Toward a Redefinition of Painting for the Post-Modern Era.Thomas Mcevilley - 1993
     
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  43.  9
    Cezanne and Modernism: The Poetics of Painting.Joyce Medina - 1995 - State University of New York Press.
    This book explores how traditional relations among the arts have changed in our time, focusing on the radical transformation of Paul Cezanne.
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  44. Discourses on Painting and the Fine Arts Delivered at the Royal Academy.Joshua Reynolds, Jones & Co & Royal Academy of Arts Britain) - 1837 - Published by Jones & Co.
     
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  45. 'If Mine Had Been the Painter's Hand' the Indeterminate in Nineteenth-Century Poetry and Painting.Lawrence J. Starzyk - 1999
     
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  46. Natural Watercolours Painting From Nature Made Easy.Richard S. Taylor - 1998
     
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  47. Richard Wollheim on the Art of Painting. Art as Representation and Expression.Rob van Gerwen - 2002 - Tijdschrift Voor Filosofie 64 (4):809-809.
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  48. Richard Wollheim on the Art of Painting: Art as Representation and Expression.Richard Wollheim - 2001 - Cambridge University Press.
    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. Among (...)
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  49. Authenticity in Painting: Remarks on Michael Fried’s Art History.Robert Pippin - 2005 - Critical Inquiry 31 (3):575.
    My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are (...)
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  50. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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