Van Goghs Malerei vollzieht den Wandel vom traditionellen Verständnis des Bildes als Repräsentation zum Bild als einer a-mimetischen, eigengesetzlichen Wirklichkeit, der sich äusserst anregend auf den Expressionismus und auf die abstrakte Malerei ausgewirkt hat. Weniger bekannt ist die Tatsache, dass sein Werk auch zur Entstehung von modernen Dichtungs- und Kunsttheorien beitrug. So wies es Rilke den Weg zur Sachlichkeit des Sagens, Hofmannsthal ermöglichte es ein neues Verständnis von Wirklichkeit, Heidegger unterstützte es bei der Erweiterung und Verwandlung der Metaphysik, während es (...) Jaspers zur Entwicklung seiner künftigen Existenzphilosophie anstiess. (shrink)

This essay revisits Meyer Schapiro’s critique of Heidegger’s interpretation of Van Gogh’s painting of a pair of shoes in order to raise the question of the dispute between art history and philosophy as a contest increasingly ceded to the claim of the expert and the hegemony of the museum as culture and as cult or coded signifier. Following a discussion of museum culture, I offer a hermeneutic and phenomenological reading of Heidegger’s ‘Origin of the Work of Art’ and conclude (...) by taking Heidegger’s discussion of the strife between earth and world to the site of the ancient temple of Apollo Epicurius at Bassae as an example of the insistent foreclosure of the ancient work of art and the conflicts of the pervasive efforts of modern conservation. (shrink)

This article continues a discussion the authors have had with Mats Wahlberg on evolutionary theodicies. We have previously suggested a theodicy where there are token unique goods that could only have been actualized through indeterministic evolution. Wahlberg objects that we cannot appeal to such goods, since given indeterminism, God cannot know that such goods will appear. In this article we respond by arguing that God can know well enough that certain kinds of token goods will appear, without knowing in detail (...) their specific character, or when they will happen. (shrink)

Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be (...) defined as a notion of experience and knowledge. Thus the notion of an image gets a new understanding: it can be described as an "energetic system". (shrink)

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.

In lieu of an abstract, here is a brief excerpt of the content:Fortuyn, Van Gogh, Hirsi AliWhy the Unholy Trinity Was Driven Out of the NetherlandsHenri Beunders (bio)“Vulnerability” and “tolerance” are pretty vague notions. A lot of suggestions, images, and good intentions cling to them, while scientific clarity is virtually absent.The same goes for the Netherlands. Abroad, my country had the image of a tolerant, liberal, and free society, a place where things could be said and done that were (...) forbidden elsewhere. So the question is: how on earth did this country turn into a battlefield due to a clash of civilizations almost overnight?I will try to explain to you how and why in the past decades the Netherlands became so vulnerable that in 2002 a political revolt broke out quite unexpectedly, a revolt that lasted for years and still is not over yet. The crisis resulted in two people becoming victims of political killings, while a third had to flee the country. Because all three of these people were liberal individualists who criticized two types of religion—the political-cultural left, or “Red Church,” and fundamentalist Islam—I will refer to them as the unholy trinity, an unholy trinity that had to be exorcized to restore the peace.Freedom of speech and freedom of religion are key factors in the Dutch crisis. Cultural wars and mimetic rivalry are other factors. Americanization and the advent of the multicultural society are the forces profondes. [End Page 201]I: Tolerance and the Dutch ConstitutionLet us talk briefly about tolerance first. Everybody seems to be in favor of it, except when we collectively decide we must not tolerate things, like drunk driving, smoking in public buildings, and so on.In the present Dutch constitution, created in 1983, article 1 begins with these sentences: “All persons in the Netherlands shall be treated equally in equal circumstances. Discrimination on the grounds of religion, belief, political opinion, race, or sex or on any other grounds whatsoever shall not be permitted.”1In essence, the constitution states that a colored Dutchman has the right to be treated in the same way as a white one. This has, however, nothing to do with tolerance. Tolerance means that a dominant group permits a nondominant group to have opinions or lifestyles that seem to deviate from the usual order. If we ask natives to be tolerant toward exotic immigrants, this implies hierarchy. There is a group that tolerates, and there is a group that is tolerated. In the strict sense of the word, tolerance implies discrimination and is therefore hostile to the constitution.As a Dutch historian once remarked, every philosopher who thought about these things, like John Locke, Mirabeau, or Thomas Paine, knew that the notion of religious tolerance is useless if you assume all men by nature to have inviolable rights anyway, like those of freedom of thought, expression, and religion.2Of course, a nation-state has to be intolerant sometimes, for instance, when freedom of religion is used to undermine the state, when, for example, the state is promoting violence, which in democratic societies is the monopoly of the state. This is a matter of principle. The rest is a matter of political debate.At this point we have to conclude that trying to give meaning to a word such as tolerance can be very complicated and confusing, and that such a word has to be used very carefully. The same goes for all those other container words, like racism, fascism, populism, and so forth, that have been used so frequently in recent decades to label and scapegoat people and things that are feared or simply disliked. But words are important.The idle and gratuitous manner in which container words of this kind are used to denounce “the enemy” represents the other side of the so-called liberal, “tolerant” society of the Netherlands. All this name calling definitely keeps you from researching and facing the things that are really going on. During the 1990s, this name calling resulted in the dominance of political correctness, a phenomenon that leaves no room for doubt as to who the angels and devils are in society, and it implies that there is no need to look... (shrink)

This article analyzes the relationship between Van Gogh and two of his doctors, Dr. Rey and Dr. Gachet, whose portraits he painted, by comparing their rapport with the sick painter and vice versa. Van Gogh the patient/artist—presented here as a case study—enables us to examine not only his projections but the counter-projections of his doctors, whether in writing (Dr. Rey) or in painting (Dr. Gachet), and to explore the psychological and ethical tensions these projections give rise to. Van (...) Gogh's portraits of the two doctors offer two contrastive models: estrangement vis-à-vis “doubling” and symbiosis. Whereas Dr. Rey catered for Van Gogh's maternal needs and misunderstood his artistic needs, Dr. Gachet identified with his patient's talent and drew his face (death mask) after his suicide. The central ethical question that arises from the analysis of Van Gogh's relationship with his two doctors is whether we can extend our moral judgments beyond the cultural bounds of a specific historical context. (shrink)

'Ik was bang - niet heel erg, maar toch wel een beetje - dat jullie me niet meer mochten omdat ik jullie tot last ben, maar de brief van Jo is voor mij het levende bewijs dat jullie heel goed beseffen dat ik van mijn kant net zo hard werk en ploeter als jullie.'.

In _"Masterpiece" Studies_ Kermit Champa offers new ways to interpret modernism that have previously been closed off by the application of the reigning art-historical methodologies to the study of the modernist achievement. He focuses on four separate phenomena—Manet's last Salon painting, _Bar at the Folies-Bergèr_e;_ L'Oeuvre_, Zola's novel about the realist/impressionist movement; Van Gogh's problematic versions of a single painting, _La Berceuse_; and the immanent "series" phenomenon of Monet's work of the period. Champa reveals the importance of music, in (...) particular Wagner's music, as a paradigm for later nineteenth-century French painting. He also shows the crucial significance of the concept of the masterpiece as thematized by Zola in his novel for our understanding of certain aspects of the art of Manet, Monet, and Van Gogh. Employing postformalist methodology, the book explores the conversation between works of art produced in close succession and elaborates an aesthetic context for that conversation. Champa also shows how paintings and fictional representations of paintings can announce their points in common, and it is out of this exploration that he radically redefines what constitutes "context.". (shrink)

This richly textured book bridges analytic and hermeneutic and phenomenological philosophy of science. It features unique resources for students of the philosophy and history of quantum mechanics and the Copenhagen Interpretation, cognitive theory and the psychology of perception, the history and philosophy of art, and the pragmatic and historical relationships between religion and science.

An evaluation of the methodology and perspectives of modern science explains how discoveries in the physical sciences require and anticipate a revolutionary, philosophical interpretation of reality.

This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that is always already (...) here in the immanent and reveals the ability of an object to point beyond itself. Both of these concepts are at work in Van Gogh’s art as well as modern art in general as the expansion of reality through new sight. Immanent transcendence and Van Gogh’s art are different but interconnected ways of rethinking experience beyond the limits of positivism and the myth of the given. Van Gogh’s art thus embodies a sensible world transformed. In particular, Van Gogh’s landscapes and still life series suggest the inexhaustibility of the things we so often overlook in our everyday experience. (shrink)

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 and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

Last summer I was given the opportunity to work closely with an extensive exhibition of Dutch artist Vincent Van Gogh’s paintings at the National Gallery of Canada. I focused my research for the class on unpacking the significance of an unorthodox painting in the show entitled The Large Plane Trees, which presents Jean François Millet-inspired digging figures in a markedly diminished and experimental way. Looking to the overt spirituality of Van Gogh’s personal writings, Van Gogh’s curious obsession (...) of copying Millet’s agrarian figures, the influence of Ukiyo-e Japanese woodblock prints, and nineteenth-century politics regarding the depicting of the rural and working classes, this paper gives readers a chance to understand a small portion of the pedagogy, and aims of an artist whose aspirations have been wildly misconstrued by popular and academic media. (shrink)

Last summer I was given the opportunity to work closely with an extensive exhibition of Dutch artist Vincent Van Gogh’s paintings at the National Gallery of Canada (through a class run here at the University of Alberta). I focused my research for the class on unpacking the significance of an unorthodox painting in the show entitled The Large Plane Trees (1889), which presents Jean François Millet-inspired digging figures in a markedly diminished and experimental way. Looking to the overt spirituality (...) of Van Gogh’s personal writings, Van Gogh’s curious obsession of copying Millet’s agrarian figures, the influence of Ukiyo-e Japanese woodblock prints, and nineteenth-century politics regarding the depicting of the rural and working classes, this paper gives readers a chance to understand a small portion of the pedagogy, and aims of an artist whose aspirations have been wildly misconstrued by popular and academic media. (shrink)

In contrast to several recent studies that align Vincent van Gogh's plans for a “Studio of the South” with entrepreneurial capitalism, this essay considers the scheme in the context of nineteenth-century cooperative socialism. It traces the artist's experiences among striking miners in Belgium and impoverished weavers in the Netherlands, and it examines the artworks that these encounters inspired. In the process, I identify basic principles that would inform Vincent's plan for a producers' cooperative in Arles in 1888. Working from (...) Vincent's letters, I identify two stages in the development of the artist's proposal. In the winter and spring, Vincent discussed a strategic “association” of Impressionist artists and dealers. By the fall, he had combined this concept with his long-standing desire for companionship; the resulting conception was a cooperative avant-garde atelier in which member artists and dealers would dedicate themselves to maintaining communal working and living spaces and providing materials for production. The essay then explores Vincent's plan in the context of mid-nineteenth-century discussions of cooperative organization. I conclude that Vincent's scheme should be understood as a revival of the reformist, even socialist, literature that was current at mid-century. (shrink)

This study offers a close reading of China’s Van Goghs, a documentary that tells the personal story of Zhao Xiaoyong, a painter-worker making his living by replicating masterpieces in a Chinese art village. Taking the cinematic representation of Zhao’s pilgrimage as a starting point, this study explores how the meaning of authenticity is negotiated through the interplay between aesthetic value and market value in the global flow of cultural products. Through a cross-disciplinary exchange between film, tourism, urban studies and creative (...) labor studies, this study investigates the on-screen portrayal of places, people and power relations as a means to investigate the spatial, social and political implications of Zhao’s journey. Situating the protagonist’s quest for authenticity in Shenzhen’s transition from a labor-intensive economy to a knowledge-based economy, this study sheds light on the intersection between identity, mobility, and creativity at the time of capitalization, urbanization and globalization. (shrink)

The focus of this essay is the art of Vincent van Gogh and the way in which van Gogh’s understanding of nature informs his landscape painting. Van Gogh’s descriptions of the relationship between na...

Par de botas se titula la obra del pintor holandés Vincent Van Gogh. Es a partir del análisis de esta pintura que realiza el filósofo alemán Martin Heidegger en su obra El origen de la obra de arte, desde el cual se creará un rico debate, referido sobre todo a la procedencia y significado último de esta obra de Van Gogh. El presente ensayo procura aunar fenomenológicamente, al alero del pensamiento de Martin Heidegger, el conjunto de cuadros que (...) pintó el pintor holandés sobre el “modelo zapato”, bajo el “tema del andar”, entendido como una “errancia”, que en Van Gogh se torna en dramática búsqueda de pertenencia, pero sobre todo de condiciones para la subsistencia, tanto física como espiritual. Por lo tanto el zapato deviene en emblema, el vehículo con el cual desplazarse en las agrestes geografías de su vagabundear. Pair of Boots is the work titled by the Dutch painter Vincent Van Gogh. It is based on the analysis of this painting that the German philosopher Martin Heidegger makes in his book The Origin of the Work of Art, from which we create a rich debate, primarily concerned with the origin and ultimate meaning of Van Gogh´s work. This paper seeks to combine phenomenologically, the wing of thought of Martin Heidegger, the set of pictures he painted on the Dutch painter “shoe model” under the “theme of walking”, understood as a “wandering” in Van Gogh dramatic turns in search of belonging, but especially for subsistence conditions, both physical and spiritual. So the shoe becomes an emblem, the vehicle with which to travel in the rugged geography of his wandering. (shrink)

The article raises the problem of the relationship between art and truth, reviewing the interpretations of V. Van Gogh’s famous painting A Pair of Shoes (1886–87) in the works of famous theorists and art critics. Raising the question of what truth is revealed in the artist’s painting, the most important disputes on this topic between M. Heidegger, M. Schapiro, J. Derrida and F. Jameson are briefly discussed. This artist’s painting also caught the attention of the famous Lithuanian philosopher A. (...) Šliogeris, who considered it as a diagnosis of the death of Western visual art itself. Along with the dispute of famous theoreticians about this, an attempt is made to consider the point of view that the death of art itself and the rise of civilisation of technology are revealed in van Gogh’s paintings. (shrink)

이 글은 강렬한 인상과 사유를 통해 대립적 색채-형상의 예술미를 표현하였던 고흐의 예술 세계에 내포되어 있는 해체주의적 특성과 살-존재론적 특성을 밝히고, 이를 토대로 새로운 창의적 예술 세계가 펼쳐질 수 있는 미래지향적 예술의 한 양상을 제시하는 미래지향적 예술미로서의 통섭미를 밝히는 것을 목적으로 한다. 해체란 파괴임과 동시에 구성이다. 고흐의 예술 세계가 내포하고 있는 해체주의적 특성은 인상적인 보색 대비의 양상에서 잘 드러난다. 회화에서 색채와 형상의 차연적인 흔적을 통해서 아름다운 것들은 드러난다. 색채와 형상을 통한 아름다움은 바로 아름다운 것들의 흔적에 의한 것이다. 그것들은 차이의 시간·공간적 네트워크로서의 (...) 흔적이다. 모든 시각적 흔적들은 차이 혹은 차연의 기호들이다. ‘자연의 사물이나 생명체’는 ‘예술적 색채’에 대한 색채의 살이 되고 동시에 ‘예술적 색채’는 ‘자연의 사물이나 생명체’에 대한 살이 된다. 이런 살은 교차와 얽힘으로서의 살이다. 색깔이 형상적 대상에 무한히 비결정성의 열기를 부여하기 때문에, 색깔은 색의 차이들과 더불어 깊이를 구성하는 것이다. 색깔은 우선 변화의 다른 차원, 즉 주변과 관계하는 차원에서 변화한다. 이런 가운데 살-존재론적인 예술적 살은 존재의 열개가 된다. 차이장으로서의 예술적 텍스트는 흔적의 차이와 잠재적인 가능적 차이 및 존재론적 살적 작용을 내포하고 있다. 이와 같은 텍스트의 특성을 토대로 차이장 속에서 항상 현재적 차이와 가능적 차이를 머금고 살아 움직이는 통섭미를 추구하는 것은 미래지향적인 예술미와 새로운 미학의 세계를 위한 길이 될 것이다. (shrink)