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Painting --- Visual perception --- Psychological aspects --- Philosophy --- Painting - Psychological aspects --- Painting - Philosophy
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Composition (Art) --- Space (Art) --- Painting, Modern. --- Painting --- Espace (Art) --- Peinture moderne --- Peinture --- Philosophy. --- Philosophie --- -Painting, Modern --- Art --- Modern painting --- Paintings, Modern --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Proportion (Art) --- Philosophy --- Composition --- Painting, Modern --- Negative space (Art) --- Painting - Philosophy.
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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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Painting --- Affective and dynamic functions --- Philosophy and psychology of culture --- Kooning, de, Willem --- Picasso, Pablo --- Poussin, Nicolas --- Jones, Thomas --- Manet, Edouard --- Hals, Frans --- Bellini, Giovanni --- Ingres, Jean Auguste Dominique --- Friedrich, Caspar David --- Titian --- Visual perception --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Philosophy --- Psychological aspects --- Visual Perception --- Visual perception. --- Philosophy. --- Psychological aspects. --- CDL --- 75.01 --- Painting - Psychological aspects --- Painting - Philosophy
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Leonardo da Vinci's arguments for the supremacy of painting over the arts of poetry, music, and sculpture address issues that have been relevant to debates over the nature of representation since the time Plato discussed imitation until today, maintains Claire Farago in this wide-ranging critical analysis of the first important modern contribution to the comparison of the arts. This study systematically examines 46 passages compiled in the mid-sixteenth century from eighteen of Leonardo's notebooks and their relationship to the artist's holograph writings on painting, providing a critical transcription newly made from the Codex Vaticanus Urbinas 1270 and a new English translation with extensive notes that take into account Leonardo's scientific terminology, the highly contrived form of his rhetorical argumentation, and the role played by his original editors.
Painting --- Paragone (Aesthetics) --- Philosophy --- Leonardo, --- Aesthetics --- Codex Vaticanus Urbinas 1270 --- Ut pictura poesis (Aesthetics) --- Art and literature --- Humanism in art --- Philosophy. --- Da Vinci, Leonardo, --- Leonardo da Vinci, --- Léonard, --- Lieaonaduo, --- Lionardo, --- Liyūnārdū Dāvīnshī, --- Vinchi, Leonardo da, --- Vinci, Leonardo da, --- Леонардо да Винчи, --- Леонардо, --- לאונרדו, --- ליאונארדו, --- ליאונרדו דא וינצ׳י --- ליאורנרדו, --- Aesthetics. --- Codex Vaticanus Urbinas 1270. --- Codex Urbinas 1270 --- Codice Vaticano Urbinate latino 1270 --- Painting - Philosophy --- Leonardo, - da Vinci, - 1452-1519 - Aesthetics --- painting techniques --- paragone [concept] --- art theory --- kunstliteratuur --- Trattato della Pittura --- Leonardo da Vinci --- Leonardo, - da Vinci, - 1452-1519
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Painting --- Peinture --- Philosophy --- Appreciation --- Philosophie --- Appréciation --- Caravaggio, Michelangelo Merisi da, --- Poussin, Nicolas, --- Semiotics --- Criticism and interpretation --- 7.01 --- -Semiotics --- Semeiotics --- Semiology (Linguistics) --- Semantics --- Signs and symbols --- Structuralism (Literary analysis) --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Caravaggio, Michelangelo Merisi da --- -Poussin, Nicolas --- -Criticism and interpretation --- Semiotics. --- Philosophy. --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Appréciation --- Pusan, Niḳolah, --- Pussen, Nikola, --- Karavadzho, Mikelʹandzhelo da, --- Merizi, Mikelʹandzhelo, --- Merisi, Michelangelo, --- Amerighi, Michelangelo, --- Caravaggio, --- Merisio, Michelangelo, --- Da Caravaggio, Michelangelo Merisi, --- Merisi da Caravaggio, Michelangelo, --- Caravage, --- Merisi, Michelange, --- Caravage, Michelange de, --- Caravaggi, M. de --- קרוואג׳יו --- Criticism and interpretation. --- Poussin, Nicolas --- CDL --- 75.01 --- Painting - Philosophy --- Poussin, Nicolas, - 1594?-1665 - Criticism and interpretation --- Caravaggio, Michelangelo Merisi da, - 1573-1610 - Criticism and interpretation --- Poussin, Nicolas, - 1594?-1665 --- Caravaggio, Michelangelo Merisi da, - 1573-1610
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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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