Abstraction and the Classical Ideal, 1760-1920
Associated University Presse, 2006 - 182 страници
This study traces an important but largely overlooked conception of abstraction in art from its roots in eighteenth-century empirical epistemology to its application in the pursuit of ideal form from Joshua Reynolds to Piet Mondrian. Theorized by Enlightenment philosophy as a means of discovering ideal essence by purging natural form of its accidental and contingent qualities abstraction was a major focus of philosophical, scientific, and aesthetic discourse for more than one hundred fifty years, serving as the nucleus of fundamental debates about the philosophy of mind, the relationship between the Ancients and the Moderns, the nature of human racial and functional variety, the nature of God's creative ideas, the use of brushwork in painting, the validity of abstraction in art, and the visual appearance of ideal truth and beauty.
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abstraction achieved aesthetic Ancient appearance approach art theory artist aspect asserts association beauty become Bernard blot brushwork called cause century character cited classical classical art color common composition concept considered criticism custom defined Denis derived described determinate Diderot direct Discourses discover distinction divine drawing effect eighteenth-century empirical epistemological Essays example exist expression eyes figure forces formal function given hand human Ibid ideal ideas imagination imitation individual John Joshua Reynolds knowledge landscape less lines London manner marks matter means merely method mind Mondrian nature notes notion object original painter painterly painting particular perfect picturesque Platonic practice Press problem produce purely Quatremère reason relation rendering result Reynolds Reynolds's seems selection sense sort species spiritual structural style suggests Symbolism Symbolist term things tion tradition transcendent tree true truth understanding universal vision whole