By Dana Arnold, Margaret Iversen
Paintings and concept is a set of newly commissioned essays that explores the connection among the self-discipline of paintings background and demanding routine within the heritage of western thought.
- Brings jointly newly commissioned essays that discover the connection among the self-discipline of paintings background and activities within the heritage of western thought.
- Considers the impression of the writings of key thinkers, together with Aristotle, Kant, and Heidegger, at the means within which items are perceived and understood and histories of paintings are developed, deconstructed, and reconfigured in accordance with various units of philosophical frameworks.
- Introduces the reader to the dynamic interface among philosophical reflections and artwork practices.
- Part of the hot Interventions in artwork heritage sequence, that is released along side the organization of paintings Historians.
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Extra resources for Art and Thought
Philosophers, on the other hand, are, for all their abstruseness, simplifiers. And what I want to offer in this essay is a wild simplification, a way of thinking about the meaning of the Enlightenment through the consideration of two images: a piece of wax and some bricks, a brick wall really. My thought is going to be this: each of these two images, wax and brick, embody and thereby provide or project an account of the meaning of enlightenment, hence each image picturing an utopian moment that can be thought of as constitutive of the very idea of enlightenment; but, and here is the rub, in fact these two images stand in radical opposition to one another.
Here, for once, we may have some sympathy with Keller’s attempts to see Titian’s pictures as a Mirror of Princes. The viewer, and that means in the first instance Philip, sees her precisely as Perseus saw her when he was flying by on the borrowed wings of Mercury, in her full beauty, resembling a marble statue, enlivened only by her moving hair and tears flowing from her eyes. Her appearance, in her full, naked beauty, is the beginning of the myth, the cause of his action. Her appearance stirs him to love, and out of love he throws himself into the dangerous battle with the beast.
The distinction between the two forms of knowledge parallels the distinction between the two modes of seventeenth-century scientific thought . . As I suggested at the conclusion of my introductory discussion . . the nonmathematical, observational bias of the Baconian project, with its lack of ancient precedent, corresponds to the model of Dutch art; the mathematical, less empirical, and ancient bias of the classical sciences fits Italian art. The comparison between a science based on observation and one based on mathematics, like the comparison between the art of the north and that of the south, has not been treated as a comparison of equals.