March 29, 2017

Download Aesthetics and Painting (Continuum Aesthetics) by Jason Gaiger PDF

By Jason Gaiger

This booklet deals an attractive and complex examine the debates and ideas concerned about the aesthetics of portray - a part of a huge new sequence from Continuum's philosophy list."Aesthetics and portray" introduces and opens up present debates and concepts within the aesthetics of portray. on the book's centre is an research of the advanced courting among what a portray depicts and the capability in which it really is depicted. The ebook appears to be like at: how and why pictorial illustration may be exotic from different kinds of illustration; the connection among the painted floor and the depicted topic; the 'rules of illustration' particular to portray; summary paintings and non-representational portray; portray as an traditionally reflexive and self-critical perform; the latest technological and aesthetic advancements and their implications; and, the modern demanding situations to portray. a cosmopolitan therapy of significant principles in paintings and philosophy, "Aesthetics and portray" continues to be hugely readable all through, providing a transparent and coherent account of the character of portray as an artwork form." The Continuum Aesthetics sequence" appears on the aesthetic questions and concerns raised through all significant paintings varieties. Stimulating, attractive and obtainable, the sequence bargains meals for suggestion not just for college kids of aesthetics, but additionally for a person with an curiosity in philosophy and the humanities.

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Additional resources for Aesthetics and Painting (Continuum Aesthetics)

Sample text

Provides a highly effective means of describing the requirements of planar projection. We are to conceive the picture plane as a surface suspended between the viewer and the external world on which the artist fixes the visual appearances of objects with lines and colours. This proposal is fully consistent with the idea, expounded by later figures such as Vasari, that artists should seek to provide an exact imitation of the way things appear to sight. The important point that I want to emphasize here is that Alberti’s account of the geometry of vision does not seem to allow for any variation between the image that is produced by the painter on the rectangle of the canvas and the virtual rectangle that lies at the intersection of the ‘rays of light’.

This is the aim that I will pursue in the rest of this chapter. ALBERTI’S ON PAINTING I want to start by considering a key text of Renaissance art theory, Alberti’s On Painting, whose composition in 1435 is widely recognized as marking the point of transition from medieval workshop practices to the modern, humanistic conception of painting. Alberti originally wrote the treatise in Latin, but he also produced an Italian version the following year, which he dedicated to the Florentine architect Brunelleschi.

By identifying the reasons for Plato’s notorious attack on the ‘imitative’ arts, we can prepare the ground for a positive re-evaluation of painting as an art of appearance. 20 I now want to consider in more detail Plato’s account of the nature of artistic representation, focussing in particular on his theory of mimˉesis. The ancient Greek word mimeˉ sis is a polysemic term, whose correct translation remains a source of considerable debate. 21 The difficulty of finding a single English equivalent arises from its usage in a variety of different contexts, not all of which 27 AESTHETICS AND PAINTING refer to works of art.

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