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  1. Adversity and Practices of Painting in Advance.Véronique M. Fóti - forthcoming - Philosophy Today.
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  2. Painting's Figural Territory: An Impossible Refrain.Elizabeth Grosz & Simon O'Sullivan - forthcoming - Substance.
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  3. The Wizard Artist.Enrique Morata - forthcoming - Bubok.
    Philosophy of drawing. Theories on drawing from the best comic-book artists.
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  4. Writing to Barnett Newman: F. N. Souza and the End of Modernism.Saul Nelson - forthcoming - Art History.
    Beginning with an unsolicited letter to Barnett Newman written by the Indian modernist F. N. Souza, this essay seeks to reframe our understanding of the decline of modernism. Art-historical consensus holds that, as the 1960s progressed, modernist art was swept aside by demands for political engagement to which it could not adapt. Souza's letter complicates this. On one hand, it criticizes Newman's latest paintings for expressing modernist values such as autonomy, transcendence, and universality, for amounting to the claim that ‘colour (...)
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  5. Sociological Observations On Modern Painting.H. Plessner - forthcoming - Social Research: An International Quarterly.
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  6. ‘Andy Warhol’, Tate Modern, London, 12 March – 15 November 2020; Then Museum Ludwig, Cologne, 12 December 2020 – 18 April 2021. [REVIEW]Vid Simoniti - forthcoming - British Journal of Aesthetics.
    The story of Andy Warhol is in many ways a story of an outsider breaking into the mainstream. Born into a working class immigrant family, queer, poor, and deeply self-conscious about his appearance, Warhol turned his fortunes around to become not only a wildly successful artist in the 1960s but one of the era’s arbiters of taste. His best-known dictum was that ‘in the future, everyone will be world-famous for fifteen minutes’, although this was patently untrue of his own art. (...)
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  7. Symposium: Wollheim's" Painting as an Art"[Introduction].Ralph A. Smith - forthcoming - Journal of Aesthetic Education.
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  8. A: Bertha Fanning Taylor: Form and Feeling in Painting-In.Gianni-ree Vattimo - forthcoming - Rivista di Estetica.
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  9. Vasily Kandinsky: Around the Circle.Ekin Erkan - 2022 - AEQAI.
    A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.
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  10. Portraits, Facial Perception, and Aspect-Seeing.Andreas Vrahimis - 2022 - British Journal of Aesthetics 62 (1):85–100.
    Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative process involves (...)
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  11. Cavell on Color.Byron Davies - 2021 - Conversations: The Journal of Cavellian Studies 9:90-113.
    This essay aims to understand the relations between Stanley Cavell’s theoretical generalities regarding the medium of film and his readings of individual films, with a particular focus on his writing on color in his book The World Viewed. I argue that a specific idea of color as connected to abstraction (as well as a correlative idea of black-and-white as connected to figuration) grounds the relations between Cavell’s general statements about color and his readings of individual color films, and that this (...)
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  12. Aleatory Aesthetics: Appraising the Aesthetics of “Chance” in Gerhard Richter’s Cage Paintings.Ekin Erkan - 2021 - AEQAI.
    Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.
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  13. La Rue est à nous.Filippo Fimiani - 2021 - Rivista di Estetica 2 (77):59-76.
    periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...)
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  14. Painting with Impossible Colours: Some Thoughts and Observations on Yellowish Blue.Michael Newall - 2021 - Perception 50 (2):129–39.
    This paper considers evidence, primarily drawn from art, that one kind of impossible colour, yellowish blue, can be experienced.
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  15. How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting.Jussi A. Saarinen - 2021 - British Journal of Aesthetics 61 (4):543-558.
    Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...)
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  16. Retrato: imagen del hombre y origen del arte.David Vázquez Couto - 2021 - Co-herencia 18 (35):341-378.
    Sometimes, art theory addresses the same type of image from discursive disparity. This is the case of the portrait, whose imprecise definition complicates its conceptual and formal definition within the limits of the Western culture. Although this text does not intend to resolve doubts about one of the most significant questions in art—even the question of art, if portraits are born with it—it does attempt to show the difficulties in reaching an agreement on the conventions that define it, from its (...)
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  17. The Sculpted Image?Robert Hopkins - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal (eds.), Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 187-205.
    Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...)
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  18. On Being Moved by Portraits of Unknown People.Hans Maes - 2020 - In Portraits and Philosophy. Routledge.
    In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...)
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  19. Van Eyck: An Optical Revolution.Bence Nanay - 2020 - British Journal of Aesthetics 60 (2):223-225.
    Van Eyck: An Optical RevolutionMuseum of Fine Arts, Ghent, Belgium, 1 February–30 April 2020.
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  20. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  21. The World and the Will: On the Problem of Photographic Agency.John Schwenkler - 2020 - Nonsite 32.
    This essay is my contribution to a symposium responding to several papers by Walter Benn Michaels that bring the work of Elizabeth Anscombe to bear on philosophical problems of artistic representation. In it, I take Benn Michaels's side in a dispute with Dominic McIver Lopes over the difference between Anscombe's view of intentional agency and that of Donald Davidson. I also critique Benn Michaels's reading of a difficult passage in section 29 of Anscombe's INTENTION, where she presents the famous case (...)
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  22. Mondrian and Neo-Calvinism. [REVIEW]Guy Bennett-Hunter - 2019 - Expository Times 131:20–23.
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  23. Picturing Words: The Semantics of Speech Balloons.Emar Maier - 2019 - In Proceedings of the 22nd Amsterdam Colloquium. Amsterdam: pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
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  24. Portraits of People Not Present.Bence Nanay - 2019 - In Hans Maes (ed.), Portraits and Philosophy. London: Routledge.
    The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...)
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  25. The History of Russian Empire’s Most Expensive Painting.Nadiia Pavlichenko - 2019 - «Наукові Записки НаУКМА. Історія І Теорія Культури» 2 (13):98-104.
    The article describes the story of painting Nana (1881) by Marcel Suchorowsky known as the most expensive painting sold by a painter in the Russian Empire. But the art piece differs a lot from the general line of the local art market situation, which was defined by special institutions, such as the Imperial Academy of Arts in Saint Petersburg. The main aspects are taken into consideration, such as: critical analysis of the painting, the story of the plot, which refers to (...)
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  26. Seeing Double: Assessing Kendall Walton’s Views on Painting and Photography.Campbell Rider - 2019 - Undergraduate Philosophy Journal of Australasia 1 (1):37-47.
    In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...)
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  27. Art and Form: From Roger Fry to Global Modernism.Sam Rose - 2019 - University Park, PA: Pennsylvania State University Press.
    From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the (...)
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  28. Merleau-Ponty’s Aesthetic Interworld.Anya Daly - 2018 - Philosophy Today 62 (3):847-867.
    The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue of (...)
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  29. Art Made for Pictures.John Kulvicki & Bence Nanay - 2018 - Phenomenology and Mind 14:120-134.
    Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...)
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  30. Replicating Paintings.Matteo Ravasio - 2018 - Contemporary Aesthetics 16.
    In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...)
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  31. Sanatta Sahtecilik Üzerine.Alper Yavuz - 2018 - In Berrin Taş (ed.), Kaç İnsanı Yaşadım. Cengiz Gündoğdu'nun 75. Yaşına Armağan. İstanbul: İnsancıl Yayınları. pp. 112-117.
    Bu yazıda bir sanat yapıtının sahte olmasının ne anlama geldiği incelenmektedir. Bu amaçla iki tür sahtecilik türü olan yapıt kopyacılığı ve biçem kopyacılığı birbirinden ayırt edilmektedir. İlk tür kopyacılık ile ilgili temel tartışma bir yapıtın aslından ayırt edilemeyecek kadar iyi bir kopyası neden yine de sanatsal olarak aslından daha değersiz bulunur, sorusuyla ilgilidir. İkinci tür kopyacılıkta ise temel soru bir sanatçının biçemini taklit ederek "yeni" yapıtlar üretmenin sanatsal açıdan nasıl değerlendirilmesi gerektiğidir. Yazıda bu ikinci tür kopyacılık, Hollandalı ressam Van Meegeren'in (...)
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  32. Art as Alchemy: The Bildobjekt Interpretation of Pictorial Illusion.Jens Dam Ziska - 2018 - Journal of Aesthetics and Art Criticism 76 (2):225-234.
    I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they cause (...)
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  33. WHAT IS ART (Classificatory Disputes, Aesthetic Judgements, Contemporary Art.Ulrich De Balbian - 2017 - Philosophy and Art.
    WHAT is art? Classificatory disputes.. Classificatory disputes about what is art Art historians and philosophers of art have long had classificatory disputes about art regarding whether a particular cultural form or piece of work should be classified as art. Disputes about what does and does not count as art continue to occur today -/- Defining art is difficult if not impossible. Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (...)
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  34. SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART.Ulrich De Balbian - 2017 - Oxford: Academic Publishers.
    ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by internal (...)
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  35. Disclosing Worldhood or Expressing Life? Heidegger and Henry on the Origin of the Work of Art.Steven DeLay - 2017 - Journal of Aesthetics and Phenomenology 4 (2):155-171.
    What and how is the work of art? This paper considers Heidegger’s venerable question by way of a related one: what exactly is the essence of the painting? En route to critiquing the Heideggerian conception of the work of art as that which discloses a world, I present Michel Henry’s competing aesthetic theory. According to Henry, the artwork’s task is not to disclose the exteriority of the world, but rather to express the interiority of life’s pathos—what he calls transcendental self-affectivity. (...)
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  36. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  37. Seeing-In as Aspect Perception.Fabian Dorsch - 2016 - In Gary Kemp & Gabriele Mras (eds.), Wollheim, Wittgenstein, and Pictorial Representation: Seeing-as and Seeing-in. Routledge.
  38. Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.
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  39. Adversity and Practices of Painting.Véronique M. Fóti - 2016 - Philosophy Today 60 (2):397-405.
    Merleau-Ponty’s abiding interest in the art and the enigmatic person of Paul Cézanne focuses importantly on both the pictorial expression of space, and on the freedom of artistic creation in the face of adversity. Examining these issues in relation to the art of Claude Monet, together with Monet’s status as a precursor of painterly abstraction, one can follow the Merleau-Pontyan “indirect logic of institution” to confront the work of Joan Mitchell, within the parameters of gestural abstraction, so as to consider (...)
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  40. Realismus, materialismus a umění.Tomas Hribek - 2016 - Sešit Pro Umění, Teorii a Příbuzné Zóny 21:38-66.
    [Realism, Materialism, and Art] Recent years have seen the ascendance of a new trend in continental philosophy called “the speculative turn”, “speculative realism”, “continental materialism”, or “object-oriented ontology” (OOO). I focus on the work of one of the proponents of this new trend, Graham Harman, in particular his recent attempt to extend his “object-oriented” approach to art and aesthetics. In part 1, I start with a brief characterization of the new trend in terms of the shared opposition of all its (...)
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  41. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  42. Pop Antiquity, Theatre, and the Painting of Henry Fuseli. Oxford: Oxford University Press, 2015. Pp. 288. £70. 9780198709275. [REVIEW]Hallie Marshall - 2016 - Journal of Hellenic Studies 136:302-303.
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  43. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...)
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  44. Yosman Botero y Postcolombino.Carlos Vanegas - 2016 - Co-herencia:301-303.
    La obra de Yosman Botero siempre ha orbitado entre paradojas. Desde los mismos lugares suplementarios de su obra, como los títulos de sus series Full of Emptiness (2013), Immaterial matter (2014) y Postcolombino (2016) se plantea una encrucijada tanto de la “supervivencia de las imágenes” del arte como de su capacidad comunicativa de la realidad: ya sea esta la experiencia del arte o la realidad social colombiana, o lo que sea que entendemos por “lo real”, tan cara a las propuestas (...)
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  45. Rappresentazione pittorica.Elisa Caldarola - 2015 - Aphex 11.
    Le immagini sono rappresentazioni visive: quello che mostrano ai nostri occhi è rilevante per la comprensione di ciò che rappresentano. Le rappresentazioni pittoriche sono immagini che rappresentano visivamente aspetti visibili di altri oggetti: per questo motivo, ci sembra spesso che queste immagini assomiglino agli oggetti che rappresentano, ci sembra di riconoscere tali oggetti guardando le immagini che li rappresentano e può anche capitarci che ci sembri di avere un'esperienza degli oggetti rappresentati attraverso l'immagine che li rappresenta. Potrebbe però anche darsi (...)
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  46. Ugo Nespolo: a proposito di rappresentazioni.Elisa Caldarola - 2015 - Rivista di Estetica 58.
    An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.
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  47. Uma topografia poética e estética em António Dacosta.Tomás N. Castro - 2015 - Revista de História da Arte 12:266-277.
    This work departs from Beardsley’s critique to the intentional fallacy, in order to introduce the concept of artist’s concerns, extrinsic to works but manifest in them. Then, we will describe António Dacosta’s (1914-1990) unique career, considering topography the main poetical and aesthetic value for some works of the period 1984-1990. And, although they seem to depict islands, we will argue that Dacosta depicted insularity in an unparalleled way. -/- Este trabalho parte da crítica de Beardsley à falácia intencional para propor (...)
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  48. Collision: The Puzzle of Chardin.Jane Forsey - 2015 - Evental Aesthetics 4 (1):88-95.
    FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This paper addresses problems in the interpretation of Chardin’s still life paintings, which are disconcerting because they are so out of step with those of his contemporaries. It is suggested that, with the application of Kantian aesthetics, Chardin can be best understood as representing things in themselves as well as the limits of language and understanding.
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  49. Český Greenberg? Mukařovský a estetický formalismus.Tomas Hribek - 2015 - Sešit Pro Umění, Teorii a Příbuzné Zóny 19:6-26.
    [A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social interactions. (...)
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  50. The Brain-Eye: New Histories of Modern Painting.Robin Mackay (ed.) - 2015 - Rowman & Littlefield International.
    English-language translation of a major work by French philosopher Eric Alliez, in which he offers a new perspective on critical problems in modern aesthetics.
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1 — 50 / 773