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Considers how photographic images of buildings reflect the passage of time through an exhibition held at the Princeton University Art Museum in 2011.
kunst --- fotografie --- architectuurfotografie --- tijd --- tijdelijkheid --- stadsfotografie --- fotografietheorie --- 77.01 --- 77.046 --- Architectural photography --- Time and art --- Art and history --- Buildings --- Edifices --- Halls --- Structures --- Architecture --- History and art --- History --- History in art --- Art and time --- Art --- Exhibitions --- Built environment
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Je n’ai foi que dans l’art et, sans lui, je suis perdu. Souvent, j’enferme des tableaux dans l’obscurité d’un container, durant de longues années. Que font les tableaux ainsi enfermés pendant tout ce temps, jusqu’au moment où ils se rappellent à mon souvenir en me faisant signe ? Rien ? Certainement pas, puisqu’ils ont su rassembler des forces pour attirer l’attention sur eux. Après avoir libéré la toile de l’obscurité, je la repeins et une transition s’opère vers un autre état. L’autodestruction a toujours été le but le plus intime, le plus sublime de l’art, dont la vanité devient alors perceptible. Quelle que soit la force de l’attaque, et quand bien même il sera parvenu à ses limites, l’art survivra à ses ruines. I have faith in art alone and without it I am lost. Often I shut paintings away in a dark storage space for many long years. What do paintings shut away in this manner do all that time until they give me a sign to remind me they exist? Nothing? Certainly not since they manage to muster enough strength to attract attention to themselves. After having freed a painting from the dark, I repaint it and a transition towards another state of being takes place. Self-destruction has always been the most intimate and sublime aim of art whose vanity thus becomes visible. However strong the attack and whatever its success in achieving its aims, art will survive its own ruin.
Art --- Aesthetics --- Art and history --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Philosophy --- History and art --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Analysis, interpretation, appreciation --- History --- History in art --- Criticism --- Literature --- Proportion --- Symmetry --- Art and philosophy --- Psychology --- Radio broadcasting Aesthetics --- art --- arts plastiques --- création artistique
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Hauptbeschreibung Thema dieses Bandes ist die philosophische Entwicklung Friedrich Wilhelm Joseph Schellings (1775-1854) im ersten Jahrzehnt des 19. Jahrhunderts. Schelling hatte 1801 einen umfassenden Entwurf einer systematischen Philosophie vorgelegt, in dem die gesamte Natur und die gesamte Geisteswelt als Erscheinungen ein und desselben Prinzips verstanden werden. Im Jahre 1809 legte er mit der Schrift »Philosophische Untersuchungen über das Wesen der menschlichen Freiheit« eine Konzeption vor, die dem Systementwurf von 1801 scheinbar widerspricht. In der Schelling-Forschung ist
Art and history. --- Gods in art. --- Idols and images. --- Nature --- Nature in art. --- Religious aspects. --- Philosophy of nature --- Religion and science --- Iconography --- Images and idols --- Religious images --- Statuettes --- Animism --- Art, Primitive --- Art and religion --- Fetishism --- Magic --- Religion --- Sculpture, Primitive --- Symbolism --- Gods in art --- Idols and images --- History and art --- History --- History in art --- Religious interpretations --- Iconography, Religious --- Religious iconography --- Religious statuettes --- Statuettes, Religious --- Religious art --- Schelling, Friedrich Wilhelm Joseph von, --- Schelling, Friedrich Wilhelm Joseph von --- Schelling, F. W. J. --- Schelling, Friedrich Wilhelm Joseph --- Schelling, Federico Guillermo José
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