Results for 'Painting Philosophy.'

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  1.  32
    Francis Bacon: Painting, Philosophy, Psychoanalysis.Ben Ware - 2019 - London, UK: Thames & Hudson.
    The latest book in a series that seeks to illuminate Francis Bacon's art and motivations and open up fresh and stimulating ways of understanding his paintings.
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  2.  1
    Re-Examination of Religion, Philosophy and Art in Contemporary china's Oil Paintings.Xiaomin Xiang - 2023 - European Journal for Philosophy of Religion 15 (4):167-181.
    Up to now, China's painting has not completely shaken off the influence of the spirit of European philosophy or a fundamental change in the way of viewing. The spirit of the unity of subject and object in ancient China philosophy influenced the formation and development of China's paintings. Since China Art Institute introduced figurative expressionism, a new art, into the contemporary art education system of China, it has shown its unique value in professional theory and practical skills. It not (...)
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  3. Teaching Philosophy through Paintings: A Museum Workshop.Savvas Ioannou, Kypros Georgiou & Ourania Maria Ventista - 2017 - Analytic Teaching and Philosophical Praxis 38 (1):62-83.
    There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the (...)
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  4.  22
    Bacon and the Mind: Art, Neuroscience and Psychology (Francis Bacon Studies I)Francis Bacon: Painting, Philosophy, Psychoanalysis.Martin Hammer - 2021 - British Journal of Aesthetics 61 (1):111-114.
    BACON AND THE MIND: ART, NEUROSCIENCE AND PSYCHOLOGY. HarrisonMartin. Thames & Hudson. 2019. pp 160. £28.00.
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  5.  45
    Philosophy of Painting by Shih-Tʻao: A Translation and Exposition of His Hua-Pʻu (Treatise on the Philosophy of Painting).Earle Jerome Coleman - 1978 - Mouton. Edited by Shitao.
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  6.  68
    Painting and Philosophy.Michael Newall - 2014 - Philosophy Compass 9 (4):225-237.
    This article is primarily concerned with the philosophical problems that arise out of a consideration of painting. By painting I mean of course not any kind of application of paint to a surface – house painting for instance – but painting as an art, to use Richard Wollheim's phrase. Since Plato, philosophy has intermittently been concerned with these problems, and over the past 30 years, painting has come under a new focus as philosophy of art (...)
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  7.  28
    The philosophy of the visual arts : Perceiving paintings.Joseph Margolis - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Oxford, UK: Blackwell. pp. 215--229.
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  8.  74
    Painting Borges: Philosophy Interpreting Art Interpreting Literature by Jorge J. E. Gracia (review).Adam Glover - 2013 - The Pluralist 8 (2):106-113.
    Montaigne said it in the sixteenth century, and Plato's Ion said it long before: we are but interpreters of interpretations. Jorge J. E. Gracia's Painting Borges: Philosophy Interpreting Art Interpreting Literature rests upon the assumption that this somewhat plaintive verdict on the inescapability of interpretation is in fact an occasion for celebration. For various reasons—some of which I will discuss below—Painting Borges is a welcome addition to the field of interpretation theory and will be of interest not only (...)
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  9.  18
    Basketball and Philosophy: Thinking Outside the Paint.Jerry L. Walls & Gregory Bassham (eds.) - 2007 - University of Kentucky Press.
    Whether you play basketball, coach it, or just love to watch it, this book will forever enrich your understanding and appreciation of the game.
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  10.  9
    Philosophy of Painting by Shih Tao.Stephen Addiss & Earle J. Coleman - 1981 - Journal of the American Oriental Society 101 (2):236.
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  11. Generativities: Western Philosophy, Chinese Painting, and the Yijing.Eric S. Nelson - 2013 - Orbis Idearum 1 (1):97–104.
    Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as (...)
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  12.  7
    Paintings and the Past: Philosophy, History, Art.Ivan Gaskell - 2019 - Routledge.
    Some chapters revisions of works previously issued 2004-2016.
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  13.  98
    Deleuze, Philosophy, and the Materiality of Painting.Darren Ambrose - 2006 - Symposium 10 (1):191-211.
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  14.  19
    A painting is a painting? Some cracks in the armour of formalist aesthetics and analytic philosophy.Bernard Zelechow - 1994 - History of European Ideas 18 (1):79-85.
  15.  14
    Painting Borges: Philosophy Interpreting Art Interpreting Literature.Jorge J. E. Gracia - 2012 - State University of New York Press.
    A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.
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  16.  39
    The Phenomenology of Painting.Nigel Wentworth - 2004 - Cambridge University Press.
    The Phenomenology of Painting examines the practice of painting - how a painter works with materials, the elements of space, form and color - and viewer response to a work of art. Nigel Wentworth seeks to answer some of the central questions of the philosophy of art, such as: To what extent can a painting and its meaning be understood to result from the artist's intentions? In what way can the painting be understood as an expressive (...)
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  17. The painting and the natural thing in the philosophy of Merleau-ponty.James Gordon Place - 1976 - Philosophy and Social Criticism 4 (1):75-91.
  18.  16
    What Drawing and Painting Really Mean: The Phenomenology of Image and Gesture.Paul Crowther - 2017 - New York: Routledge.
    There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, (...)
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  19.  26
    Painting Borges: Philosophy Interpreting Art Interpreting Literature.Adam Glover - 2013 - The Pluralist 8 (2):106-113.
  20. Deleuze on music, painting, and the arts.Ronald Bogue - 2003 - New York: Routledge.
    Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
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  21.  5
    Philosophy of Painting.Earle J. Coleman - 1979 - Journal of Aesthetics and Art Criticism 38 (1):102-104.
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  22.  6
    Richard Wollheim on the Art of Painting: Art as Representation and Expression.Rob Gerwen (ed.) - 2001 - New York: Cambridge University Press.
    Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: how do paintings depict? And how do they express feelings? In this collection of essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. Among the (...)
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  23.  9
    Painting, Science, and the Perception of Coloured Shadows: ‘The Most Beautiful Blue’.Paul Smith - 2021 - London: Routledge.
    Many artists and scientists - including Buffon, Goethe, and Philipp Otto Runge - who observed the vividly coloured shadows that appear outdoors around dawn and dusk, or indoors when a candle burns under waning daylight, chose to describe their colours as 'beautiful'. Paul Smith explains what makes these ephemeral effects worthy of such appreciation - or how depictions of coloured shadows have genuine aesthetic and epistemological significance. This multidisciplinary book synthesises methodologies drawn from art history, psychology and neuroscience, history of (...)
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  24.  14
    Ansai peasant paintings: inheritance of chinese primitive culture and primitive philosophy.Yaqian Chang, Liming Zhou, Peng Lu & Samina Yasmeen - 2023 - Trans/Form/Ação 46 (spe):367-390.
    Riassunto: La filosofia originale cinese è una sublimazione della coscienza culturale umana di base - la coscienza della vita e della riproduzione - che è l’unificazione del “Concetto di yin e yang” e del “Concetto di ciclo di vita “ in cui “lo yin e lo yang si uniscono per creare tutte le cose, e il ciclio dà una vita senza fine. La cultura originale cinese determina la visione filosofica, la visione artistica, il temperamento emotivo, la benessere psicologica e lo (...)
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  25.  20
    Painting and Reality.Dorothy Walsh - 1959 - Review of Metaphysics 12 (3):475 - 480.
    This question does not mean: what has a philosopher to learn from paintings? Rather it is: what metaphysical implications can be derived from the consideration of the art of painting? Since, however, this consideration is not a contemplation but a theorizing, we must understand Gilson's question to be: what metaphysical implications can be suggested by a theory about the creative activity of painters and about the kind of entity a painting is?
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  26. Mental paint.Ned Block - 2003 - In Martin Hahn & B. Ramberg (eds.), Reflections and Replies: Essays on the Philosophy of Tyler Burge. MIT Press. pp. 165--200.
    The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.
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  27. Deleuze on Music, Painting, and the Arts.Ronald Bogue - 2003 - New York: Routledge.
    First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
     
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  28.  9
    Deleuze on Music, Painting, and the Arts.Ronald Bogue - 2003 - New York: Routledge.
    First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
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  29. Representation and Sensation—A Defence of Deleuze’s Philosophy of Painting.Henry Somers-Hall - 2016 - Journal of Aesthetics and Phenomenology 3 (1):55-65.
    Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can (...)
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  30. Representation or Sensation? A Critique of Deleuze’s Philosophy of Painting.Christian Lotz - 2009 - Sympsium. Canadian Journal for Continental Philosophy 13 (1):59-73.
    In this paper I shall present an argument against Deleuze’s philosophy of painting. Deleuze’s main thesis in Logic of Sensation is twofold: [1] he claims that painting is based on a non-representational level; and [2] he claims that this level comes out of the materiality of painting. I shall claim that Deleuze’s theses should be rejected for the following reasons: first, the difference between non-intentional life and the representational world is too strict. I submit that the non-intentional (...)
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  31. Richard Wollheim on the art of painting: art as representation and expression.Richard Wollheim (ed.) - 2001 - New York: Cambridge University Press.
    Richard Wollheim is one of the dominant figures in the philosophy of art, whose work has shown not only how paintings create their effects but why they remain important to us. His influential writings have focused on two core, interrelated questions: How do paintings depict? and how do they express feelings? In this collection of new essays a distinguished group of thinkers in the fields of art history and philosophical aesthetics offers a critical assessment of Wollheim's theory of art. Among (...)
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  32. 'Like a painting, we will be erased; like a flower, we will dry up here on earth': Ultimate reality and meaning according to Nahua philosophy in the age of conquest.James Maffie - 2000 - Ultimate Reality and Meaning 23 (4):295-318.
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  33.  45
    Paintings as Solid Affective Scaffolds.Jussi Antti Saarinen - 2019 - Journal of Aesthetics and Art Criticism 77 (1):67-77.
    We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...)
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  34. Merleau-Ponty: Vision and Painting in Art and Philosophy: Mutual Connections and Inspirations.Paul Crowther - 1988 - Dialectics and Humanism 15 (1-2):107-118.
     
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  35.  21
    Painting and Presence: Why Paintings Matter.Aurélie J. Debaene - forthcoming - British Journal of Aesthetics:ayad017.
    Anthony Rudd’s Painting and Presence: Why Paintings Matter is a monograph that spans the categories of aesthetics, philosophy of art, and religion. Rudd takes t.
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  36.  14
    Aristotle or Bruegel: is Philosophy a Mode of Painting.Wilfrid Desan - 1982 - Philosophy Today 26 (3):217-225.
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  37.  9
    Aristotle or Bruegel: is Philosophy a Mode of Painting.Wilfrid Desan - 1982 - Philosophy Today 26 (3):217-225.
  38.  12
    Experimental painting: construction, abstraction, destruction, reduction.Stephen Bann - 1970 - London,: Studio Vista.
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  39.  39
    Merleau-Ponty: difference, materiality, painting.Véronique Marion Fóti (ed.) - 1996 - Atlantic Highlands, N.J.: Humanities Press.
    Although the three sections contain essays written from a wide spectrum of viewpoints, they emphasize, respectively, the important connections of Merleau-Ponty's thought to that of Derrida and Levinas, the Husserlian heritage and complex implications of his philosophy of material existence, and the relation of his philosophy of painting to contemporary abstract art. A distinguishing feature of this collection is its emphasis on contemporaneity.
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  40.  15
    Transpositions: Painting and the Phenomenological Fragments of the Unrecognizable.Alejandro A. Vallega - 2023 - Research in Phenomenology 53 (2):133-161.
    For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, (...)
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  41.  9
    Foucault on painting.Catherine M. Soussloff - 2017 - Minneapolis: University of Minnesota Press.
    What painting does -- Systems of art historical and philosophical thought -- The place of painting: Velazquez's Las Meninas -- The limits of irony: Manet's painting -- The negativity of painting: Magritte's this is not a pipe -- Painting in the light of photography: Fromanger's methods.
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  42.  31
    Attic vase painting and pre-socratic philosophy.Paul M. Laporte - 1947 - Journal of Aesthetics and Art Criticism 6 (2):139-152.
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  43.  32
    Painting with impasto: Metaphors, mirrors, and reflective regression in Montaigne's “of the education of children”.Virginia Worley - 2012 - Educational Theory 62 (3):343-370.
    Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to (...)
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  44.  7
    Chinese Painting from tradition to modernity.rui Yan - forthcoming - Philosophy and Culture (Russian Journal).
    According to Marxist philosophy, everything in the world is universally connected and in perpetual motion. Chinese society has gone through a long history of civilizational development. Since the modern era (1840-1919), great changes have taken place in the civilizational development of China. The transformation of social forms depends on the transformation of culture, and the approximation of culture to modernity is a prerequisite for the modernization of society. Thus, the development of society inevitably causes changes in art and culture; and (...)
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  45.  8
    Richard Wollheim on the art of painting: art as representation and expression.Rob van Gerwen (ed.) - 2001 - Cambridge: Cambridge University Press.
    A collection of essays on Wollheim's philosophy of art; includes a response from Wollheim himself.
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  46. When Paintings Argue.Gilbert Plumer - forthcoming - Philosophy.
    My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My approach largely consists of identifying pertinent features of viable literary cognitivism and (...)
     
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  47.  50
    The Routledge Companion to the Philosophies of Painting and Sculpture.Noël Carroll & Jonathan Gilmore (eds.) - 2022 - Routledge.
    Comprised of 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters helpfully across eight parts: I: Artforms II: History III: Questions of Form, Style, and Address IV: Art and Science V: Comparisons among the Arts VI: Questions of Value VII: Philosophers of Art VIII: Institutional Questions Individual topics include art and cognitive (...)
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  48. To paint the invisible.Luce Irigaray - 2004 - Continental Philosophy Review 37 (4):389-405.
    In this essay, which is preceded by an interview with the translator, the author revisits her earlier critique of Merleau-Ponty’s privileging of the visible, but also takes further her own thinking by drawing specifically on the issues raised within the context of painting. The focal point of her discussion is Merleau-Ponty’s essay, “Eye and Mind.”.
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  49.  2
    Comment on “Ansai peasant paintings: inheritance of chinese primitive culture and primitive philosophy”.Ke Li - 2023 - Trans/Form/Ação 46 (spe):391-398.
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  50.  9
    The Painting "Confessions" of Nikolay Raynov.Yvanka B. Raynova - 2018 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 20 (2):201-208.
    The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...)
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