Thematische Bibliographien / Metaphysical painting / art

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Metaphysical painting / art“

Autor: Grafiati
Veröffentlicht am 28. September 2024
Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Metaphysical painting / art"

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Surlapierre, Nicolas. "La fabrique de l'Atelier : les trajets italiens de Ferdinand Springer (1926-1939)." Studiolo 1, no. 1 (2002): 177–92. http://dx.doi.org/10.3406/studi.2002.1097.

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The fabric of the Atelier : the Italian journeys of Ferdinand Springer (1926-1939). The influence of Italy in Ferdinand Springer's work allows not only to assess the ascendancy of contemporary Italian painting but also to broach the issue of surrealism and metaphysical painting. In addition to the «Old Masters», Ferdinand Springer's two main references are Carlo Carrà and Giorgio Morandi. Morandi's «anti-rhetoric of the everyday» contrasts with Carlo Carrà's metaphysical painting which multiplies the references to a reflection on art and the wider dialogue between modernity and memory. Ferdina
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Cardoso, L. "The Novel Cântico Final and the Metaphysical Value of the Art in Vergílio Ferreira: From the Novel to the Film." International Journal of Trend in Scientific Research and Development 4, no. 1 (2019): 798–801. https://doi.org/10.5281/zenodo.3606253.

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In Cântico Final, the main character, M¡rio is torn between the metaphysics of art, the physical dimension of the ruined chapel, the transcendent project of painting it, in an absolute limit situation that is his return to his native village to die. The protagonist proves to be a Vergilian instrument to demonstrate the meta physical nature of Art, translated into the transcendence immanence embodied in the Chapel. In this sense, the narrator is a fundamental piece for understanding the narrative web. In this novel, he establishes an almost metaphysical proximity to the protagonist,
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Ligęza, Wojciech. "Bruegel, Caravaggio, van Gogh i inni. Malarskie tematy w późnej twórczości Kazimierza Wierzyńskiego." Przestrzenie Teorii, no. 42 (December 30, 2024): 153–65. https://doi.org/10.14746/pt.2024.42.7.

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In the late period of Kazimierz Wierzyński’s poetry the poems devoted to paintings are parallel to poems about writers and literature, also about composers and music. Intertextuality of Wierzyński links with reflections about his own biography, consideration about contemporary history and meditations devoted to existential and metaphysical quests. This poet took up the attentive studies upon the world art. Writing about victory of the universal values, he wants to overcome the traumaticexperiences of exile. In the history of art Wierzyński searched the areas of rescue. He considered philosophi
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Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.

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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaph
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Dimitrova, Denitsa. "Postmodern Aesthetics and Mythological Imagery in the Late Works of Yavor Tsanev." Visual Studies 8, no. 3 (2024): 391–97. https://doi.org/10.54664/nwme9165.

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The article considers the art of Yavor Tsanev as personal, clothed in silence, even aristocratic. He has a very clean, laconic, synthetic language in his painting. He is a minimalist who achieves a very strong and deep spiritual stillness and drama in his art. His works visually leave an impression of hypnotic and metaphysical impact, with accumulated spiritual experience. In them, freedom was achieved in the thematic-mythological interpretation of the soul and spiritualization of the material. The paintings of Yavor Tsanev are conceived as fascinating narratives, filled with fantasy in the co
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Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.

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Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
 conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
 represent some tendencies in abstract painting. I start by summarizing this concept, taking
 into consideration the elements of its reconstructions that are present in the source literature,
 especially those aspects that concern art. Although Ingarden’s idea can be used with many
 examples, I employ it
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Rimpau, Laetitia. "<i>A noir – O bleu !</i> Von Laut und Schrift zur Fläche. Joan Miró und seine Methode der <i>peinture-poétique</i>." Zeitschrift für Katalanistik 21 (July 1, 2008): 121–50. http://dx.doi.org/10.46586/zfk.2008.121-150.

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Summary: Joan Miró is a towering figure in the landscape of modern art. In the 1920s, when the Catalan painter came to Paris, he totally renewed his conception of techniques and aesthetics. Generally, the works of this period are regarded as “dream pictures”, “automatic paintings”, as a constant part of French Surrealism. The following study tries, in opposition to the current approach, to show that Miró was sceptical about the surrealistic theories and practise of art, conceding having only “une tendance surréaliste”. In the Écrits, Miró offers details about important origins of inspiration:
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Lysenkov, Alexey Yu. "Features of the representation of architectural space in the painting works of Giorgio de Chirico." Urban construction and architecture 14, no. 3 (2024): 152–56. http://dx.doi.org/10.17673/vestnik.2024.03.19.

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This article describes the features of the depiction of architectural space in the paintings of the surrealist artist Giorgio de Chirico. In general terms, surrealism is described as an artistic style of the early twentieth century, its emergence, distinctive features and semantic tasks; The questions in relation to Giorgio de Chirico are examined in more detail: from what architectural objects and constituent elements is the urban space of his paintings formed, what objects are the main semantic parts, the general universal architectural model of the formation of such a space in de Chirico’s
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Rostova, N. N. "Ilya Glazunov: The Sacrificer of the National Spirit." Orthodoxia, no. 4 (September 29, 2023): 129–41. http://dx.doi.org/10.53822/2712-9276-2022-4-129-141.

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The article explores the philosophical meaning of Ilya Glazunov’s paintings. The author states that the artist understood the art not as the aesthetic category, but through the idea of worship. The artist considered it his ultimate mission to bring Russian meanings back to the Russian people. Essentially, this entails overcoming our metaphysical groundlessness. This approach allows us to characterize the art of Ilya Glazunov as modern and even topical in the era of cultural and intellectual desolation. In this sense, the literalism of Glazunov’s images becomes the strong side of his works. The
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Sakhno, Irina. "The Metaphysics of Presence and the Invisible Traces: Eduard Steinberg’s Polemical Dialogues." Arts 11, no. 5 (2022): 85. http://dx.doi.org/10.3390/arts11050085.

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The article examines the paintings by Eduard Steinberg, a Soviet non-conformist painter from the 1950s to the 1980s from the standpoint of the plastics of his language. The author focuses on Steinberg’s polemical dialogues with the greatest names in Russian and European avant-garde art, including both common points and disagreements. By analyzing the painter’s texts through the prism of poetics of the invisible and the ontology of traces, the author observes Steinberg’s early art of the 1960s and 1970s as an attempt to create a symbolic language and attach an ideographic status to art. Through
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Dissertationen zum Thema "Metaphysical painting / art"

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Manganiello, Ilaria. "L'élaboration du concept de "poésie métaphysique" et d' "art métaphysique" chez T.S.Eliot, Eugenio Montale et Giorgio de Chirico." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL060.

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Cette thèse s'attache à reconstituer le mouvement ou l'avant-garde littéraire et artistique du début du XXe siècle appelée Métaphysique à travers deux poètes : T.S. Eliot et Eugenio Montale et un peintre : Giorgio de Chirico. L'analyse de la philosophie et de la poétique des auteurs en question nous a permis d'identifier certains éléments communs aux trois auteurs. Cela nous a autorisé à reconstruire, ou plutôt, à définir le mouvement d'avant-garde susmentionné, qui, en fait, sans le présent travail, n'aurait pas trouvé une telle définition. La métaphysique telle qu'elle est comprise par T.S.
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Heins, Barbara. "Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.

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Kouroutaki, Alexandra. "Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30057.

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L’objectif de ce travail est l’étude de la démarche artistique du mouvement surréaliste et de la peinture métaphysique en Grèce pendant la période des années 1930. En particulier la thèse étudie le cas des peintres Nikos Engonopoulos, Gerassimos Steris et Georges Gounaro. Tout en examinant « l’idiome pictural » des artistes, ce travail vise également à élucider les influences reçues des artistes Grecs tant par le mouvement surréaliste en France que par les aspirations métaphysiques de la peinture de Giorgio de Chirico. Ainsi orientée, la mise en relation s’effectue sur deux axes, premièrement
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White, David Allan, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "From Apollonian to Dionysiac : a paper on Nietzsche's division of culture into two principal strains. The Apollonian and the Dionysian, and its application to the art of painting." THESIS_FVPA_XXX_White_D.xml, 1996. http://handle.uws.edu.au:8081/1959.7/464.

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In this research paper for the postgraduate degree of Master of Arts (Hons) (Visual Arts), the author is proposing to investigate the relationship of Nietzsche's division of culture into two principal strains, 'The Apollonian and the Dionysiac', and its application to the art of painting. When Nietzsche wrote the 'Birth of Tragedy' in 1872, from which his division of culture emerged, it was entitled 'The Birth of Tragedy from the Spirit of Music'. Young (1992), also describes music as 'The Dionysian art' in his book 'Nietzsche's Philosophy of Art'. With consideration to changes in art and perc
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White, David. ""From Apollonian to Dionysiac" /." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.145642/index.html.

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Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1996.<br>"A paper on Nietzsche's division of culture into two principal strains. "The Apollonian and the Dionysiac", and its application to the art of painting.--t.p.
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.

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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, witho
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Caldarola, Elisa. "Pictorial Representation and Abstract Pictures." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.

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This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the firs
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Lin, Li-ching, and 林禮慶. "Mystical language--A study on the style of painting in Metaphysical Art." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54119245042989145556.

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碩士<br>南華大學<br>美學與視覺藝術學系碩士班<br>98<br>The thesis&apos;&apos;s main research objective is to explore the expressive style and the progression of creative process of Giorgio de Chirico&apos;&apos;s metaphysical paintings, and to apply metaphysical painting&apos;&apos;s concepts and theories on the author&apos;&apos;s own artistic creations. Giorgio de Chirico&apos;&apos;s metaphysical painting style, not only escapes the restrictions of naturalism, but also differs from the classical style from the Renaissance. The themes he created usually express the aloof and cold realistic feelings that pert
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Allan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space." Phd thesis, 2013. http://hdl.handle.net/1885/13491.

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Artworks produced in this studio-based research (option D) involve exploration of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the way the sea looks, but also with what the sea inspires. They explore the spatial dynamics of underwater terrains, convergences of inner and outer ‘space’, and question if and how the numinous and immaterial might be made manifest in the material. References to the traditional story of Jonah and the Whale operate as a contemporary metaphor for the sea as a site of death and renewal. Through the creation of series of paintings
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Bücher zum Thema "Metaphysical painting / art"

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Paolo, Fossati. La " pittura metafisica". G. Einaudi, 1988.

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Montalto, Domenico, and Francesco Cancelliere, eds. Il mago ascolta. Galleria Francocancelliere, 2004.

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Grenoble, Musée de, ed. L' art italien et la metafisica: Le temps de la mélancolie, 1912-1935. Actes sud, 2005.

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Italy), Palazzo Ziino (Palermo, ed. Giorgio De Chirico: Miti, enigmi, inquietudini : Palermo, Palazzo Ziino, 25 ottobre 2002-6 gennaio 2003. Edizioni ADA, 2002.

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Dulbecco, Gian Paolo. Gian Paolo Dulbecco: I dipinti. Paracelso arte contemporanea, 2000.

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1888-1978, De Chirico Giorgio, and Blu palazzo d'arte e cultura (Pisa, Italy), eds. Giorgio de Chirico e la metafisica. Skira, 2020.

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Patrikalakēs, Phaidōn. To realistiko, to erōtiko, kai to hypervatiko stē zōgraphikē. Aigokerōs, 1988.

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Baldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus: Uno sguardo nell'invisibile. Mandragora, 2010.

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Guarienti, Carlo. Carlo Guarienti: Opere recenti. Electa, 1997.

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Guarienti, Carlo. Carlo Guarienti: Opere 1946-1994. Charta, 1994.

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Buchteile zum Thema "Metaphysical painting / art"

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Man, Eva Kit Wah. "Metaphysics, Corporeality and Visuality: A Developmental and Comparative Review of the Discourses on Chinese Ink Painting." In Chinese Contemporary Art Series. Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_6.

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Novak, Barbara. "Epilogue: The Twentieth Century." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0015.

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Abstract It seems obvious from the foregoing chapters that America brought into the twentieth century an art that exhibited specific tendencies and continuities. From the limners on, American artists had held, in one way or another, to the adamant control of idea. Enlisting measure, mechanics, and technology as aids toward a certainty that was often as ideal as it was real, American artists guarded the unbroken integrity of the objects or things of this world, which became, very often, vessels or carriers of metaphysical meaning. Tempered by the dual planar inclinations of a continuing folk tr
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Demyanchuk, Andriy. "AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES." In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-1.

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The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.);
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Garfield, Rachel, Jenny Chamarette, and Darragh O’Donoghue. "Stephen Dwoskin, an Intermedial Artist." In The Moving Form of Film. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0015.

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Abstract The work of Stephen Dwoskin (born 1939 in Brooklyn, died 2012 in London) is varied in form, subject matter, and genre. He is best known for his early underground films, his seminal book Film Is . . ., and his role in setting up the London Film-Makers’ Co-op. Dwoskin was a working-class man, part of the Eastern European Jewish diaspora, and a survivor of childhood polio who used calipers, crutches and a wheelchair to support his mobility. He navigated experiences of multiple exclusion across his lifetime, and nevertheless had a prolific output of films, graphic design, painting and wri
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Friedell, David. "How to Change an Artwork." In Art and Philosophy. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780191815423.003.0006.

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Abstract The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. People who aren’t Shelley or Tchaikovsky cannot change these artworks. In other cases, such as those involving jazz standards and folk songs, performers and ordinary folks have
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Rudd, Anthony. "Truth (and Goodness) in Painting." In Painting and Presence. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0003.

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Abstract The chapter starts with a brief review of the philosophical tradition which—from Neoplatonism to Hegel—has held that painting can convey philosophically significant truth. This depended on a broader metaphysics of value which has been challenged by the modern ‘disenchantment’ of the world. It defends the claim that painting can convey important truths and that because such truths are not paraphrasable—expressible in any other form—art is not (as Hegel had claimed) ultimately dispensable as a means of conveying truth. But it also argues that the truthfulness of painting can only explai
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Parkinson, Nicholas. "De Chirico and the Fin de Siècle: The Metaphysical Paintings and Their Relationship to Symbolism." In The Symbolist Roots of Modern Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315085104-18.

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Yturralde, José María, and Adolfo Plasencia. "Geometry of a Multidimensional Universe: Weightless Art and the Painting of the Void." In Is the Universe a Hologram? The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036016.003.0033.

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In this dialogue, which is also the epilogue of the book, the artist José María Yturralde, holds a conversation with the author in eight parts: In 1. He reflects on MIT, Art and Science; 2. He considers geometry and its absence; 3. He makes a moving reflection on the metaphysics of art and Mark Rothko; 4. He argues the veracity of the equation "Beauty ≠ truth" and whether the great poet Keats’ idea can be denied; 5. Yturralde expounds his arguments about the “Order versus chaos" dichotomy; 6. He answers the question of whether a painting can change the past, or contains regret; 7. The artist o
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L.Walton, Kendall. "Metaphor and Prop Oriented Make-Believe." In Fictionalism In Metaphysics. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199282180.003.0003.

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Abstract Dolls and hobby horses are valuable for their contributions to make-believe. The same is true of paintings and novels. These and other props stimulate our imaginations and provide for exciting or pleasurable or interesting engagements with fictional worlds. A doll, in itself just a bundle of rags or a piece of moulded plastic, comes alive in a game of make-believe, providing the participant with a (fictional) baby. What in real life is a mere stick enables a child fictionally to ride around on a horse, the better to chase bandits or stray cattle. Paint on canvas and print on paper lea
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"Dante Gabriel Rossetti (1828-82)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0084.

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Abstract Dante Gabriel Rossetti and his siblings, William Michael and Christina, were the children of an Italian patriot who came to England in 1824. A poet, highly influenced by Keats, and painter apprenticed to his mentor and life­ long friend Ford Madox Brown (1821-93), and driven by his own aesthetic principles, Rossetti founded the Pre-Raphaelite Brotherhood in 1848 to re­ form the styles and manners of Victorian art. His interests in poetry and painting are inextricably combined, as he demonstrates in his important early sequence Sonnets for Pictures. His later sonnet sequence, The House
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Konferenzberichte zum Thema "Metaphysical painting / art"

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Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.

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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s
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