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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 earlier reflections on icons, these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the "nihilism" of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible.
Visual Perception. --- Perspective. --- Painting --- Phenomenology. --- Philosophy. --- Visual perception. --- Optics, Psychological --- Vision --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Psychological aspects --- Philosophy, Modern --- Perception --- Visual discrimination --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Perspective --- Phenomenology --- Visual perception --- Philosophy --- Visual Perception --- Painting - Philosophy
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In The Arts and the Definition of the Human, Margolis introduces a novel theory of the human person or self as a historical artifact and argues that important topics in the philosophy of art, pictorial representation, and the nature of interpretation make no sense when separated from a ""philosophical anthropology"" along the lines he suggests.
Painting --- Art --- Visual perception --- Aesthetics --- Philosophical anthropology --- Philosophy --- Visual perception. --- Aesthetics. --- Philosophical anthropology. --- Philosophy. --- Anthropology, Philosophical --- Man (Philosophy) --- Civilization --- Life --- Ontology --- Humanism --- Persons --- Philosophy of mind --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Criticism --- Literature --- Proportion --- Symmetry --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Art and philosophy --- Psychology --- Psychological aspects --- Analysis, interpretation, appreciation --- Radio broadcasting Aesthetics --- Painting - Philosophy --- Art - Philosophy
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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. As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to contemporary schools of thought, particularly Marxist, feminist, and deconstructionist.
Aesthetics --- Belief, Problem of (Literature) --- Painting --- Phenomenology --- Reality in art --- Reality in literature --- Philosophy, Modern --- Problem of belief (Literature) --- Belief and doubt in literature --- Criticism --- Literature --- Literature and morals --- Religion and literature --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Proportion --- Symmetry --- Psychology --- Aesthetics. --- Reality in art. --- Reality in literature. --- Phenomenology. --- Philosophy. --- Painting - Philosophy. --- Arts and Humanities --- Radio broadcasting Aesthetics
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No detailed description available for "Philosophy of Painting by Shih-T'ao".
Painting --- Philosophy --- Shitao, --- -Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Shih-t'ao --- Philosophy. --- -Philosophy --- A-chʻang, --- Achang, --- Chʻao-chi, --- Chaoji, --- Chi-shan-seng, --- Chih-hsia-sou, --- Ching-chiang-hou-jen, --- Chʻing-hsiang-chʻen-jen, --- Chʻing-hsiang-i-jen, --- Chʻing-hsiang-lao-jen, --- Chu, A-chʻang, --- Chu, Jo-chi, --- Citrouille-Amère, --- Dadizi, --- Daitekishi, --- Daoji, --- Dōsei, --- Dun'gen, --- Hsia-tsun-che, --- I-chih-ko, --- Jingjianghouren, --- Jishanseng, --- Kʻu-kua-ho-shang, --- Kuguaheshang, --- Ling-ting-lao-jen, --- Lingdinglaoren, --- Qingxiangchenren, --- Qingxianglaoren, --- Qingxiangyiren, --- Sekitō, --- Shan-chʻeng-kʻo, --- Shanchengke, --- Shi, Tao, --- Shi-tao, --- Shih-tʻao, --- Shih, Tʻao, --- Sŏkto, --- Ta-ti-tzu, --- Tao-chi, --- Tao-shi, --- Tun-ken, --- Wan-tao-jen, --- Wandaoren, --- Xiazunzhe, --- Yizhige, --- Yüan-chi, --- Yuanji, --- Zhixiasou, --- Zhu, Achang, --- Zhu, Ruoji, --- 石涛, --- 石濤, --- 道濟, --- 釋道, --- 朱若极, --- Painting - Philosophy --- Shitao, - active 17th century-18th century
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