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Journal articles on the topic 'Metaphysical painting'

Author: Grafiati

Published: 28 September 2024

Last updated: 31 July 2025

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1

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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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s th

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Smith, David Nowell. "Surfaces: Painterly Illusion, Metaphysical Depth." Paragraph 35, no. 3 (2012): 389–406. http://dx.doi.org/10.3366/para.2012.0066.

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This essay analyses the way in which the relation between surface and depth in modern painting is endowed with philosophical significance in the work of Michel Foucault, Maurice Merleau-Ponty and Michel Henry. Whereas Foucault considered the work of Magritte and Manet to undermine the notion of depth as such, by showing the movement of ‘similitude’, Merleau-Ponty and Henry saw post-impressionist painting as engendering an experience of depth that exceeds the Cartesian model of space as res extensa. The motif of painterly surface thus brings into debate two significant movements in French twent

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Wysłouch, Seweryna. "Lech Majewski, metafizyka i Bosch." Przestrzenie Teorii, no. 38 (July 11, 2023): 41–58. http://dx.doi.org/10.14746/pt.2022.38.3.

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The subject of the analysis is the problem of metaphysics in Lech Majewski’s novel Metafizyka [Metaphysics] (2002) and in the author’s film adaptation entitled Ogród rozkoszy ziemskich [The Garden of Earthly Delights] (2004). In the novel, metaphysical sensations are conveyed through discourse: 1) the reflections of the rationalist protagonist who undergoes a crisis of worldview following the death of his partner, and 2) in interpretations of the mysterious triptych by Hieronymus Bosch, showing an irreal world: an earthly paradise which the characters attempt to emulate by repeating scenes fro

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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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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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ROSTOVA, N. N. "Philosophy of «metaphysical painting» of Giorgio de Chirico." Personality.Culture.Society 20, no. 1-2 (2018): 149–57. http://dx.doi.org/10.30936/1606-951x-2018-20-1/2-149-157.

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Agbeshie, Abraham. "Vintage elements: Sourcing an aesthetic inspiration for contemporary Ghanaian painting." Journal of African Art Education 3, no. 1 (2023): 23–47. http://dx.doi.org/10.59739/jaae.v3i1.062302.

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This study identified and discussed how some contemporary Ghanaian painters have so much interest in vintage elements. The descriptive research method was used as a qualitative inquiry for this study. The expert type of purposive sampling method was employed to select five contemporary Ghanaian painters (Brother Owusu-Ankomah, Patrick Tagoe-Turkson, Elijah Sofo, Emmanuel Adiamah, and Papa Kofi Kum-Essoun) whose artworks focused on vintage elements in material content and subject matter. The study used direct observation and unstructured interviews to collect data. Thus, the data were analysed

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Van Vuuren, H. "‘Saltimbanque en Vriendin’ Opnuut Gelees." Literator 7, no. 2 (1986): 74–84. http://dx.doi.org/10.4102/lit.v7i2.882.

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N.P. van Wyk Louw’s poem, “Saltimbanque en vriendin” (Tristia, 1962), has to be read against the background of the saltinnbanque tradition in literature and painting. Poems of Baudelaire, IVIarsman and Rilke illustrate the mechanism of this tradition: a metaphysical world implied behind the physical world of the artist.The paintings of Georges Rouault and Pablo Picasso around the figure of the clown/saltimbanque are discussed. It is shown that the saltimbanque usually represents the poet/author/artist himself. Finally it is pointed out that "Saltimbanque en vriendin" can be read as the groundp

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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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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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Faritov, Vyacheslav T. "Speculation in sounds: Metaphysical aspects of Alfred Schnittke's musical creativity." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 54 (2024): 204–17. https://doi.org/10.17223/22220836/54/18.

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The article is devoted to the study of the phenomena of the philosophical aspects of the musical creativity of Alfred Garrievich Schnittke based on the analysis of Symphony No. 2 for chorus, soloists and symphony orchestra. Based on the philosophical and aesthetic concepts of F. Nietzsche and P.A. Florensky, the author explicates philosophical perspectivism as the main metaphysical content of the composer's musical works. In this study, the author proceeds from the thesis that the philosophy of music is the true and main content of The Birth of Tragedy. It is metaphysics, the search for the fu

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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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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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Косякова, Валерия Александровна. "Proletarian “neoicon”: Metaphysical Light of Electricity in Kliment Redko’s Painting Revolt." Платоновские исследования 1, no. 20(20) (2024): 301–11. http://dx.doi.org/10.25985/pi.20.1.12.

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Статья посвящена анализу картины Климента Редько «Восстание», относящейся к периоду раннего советского модернизма. Автор обнаруживает стратегию перекодировки православной иконографии «Спаса в силах», «Преображения», «Неопалимой купины» на почве технократических идей, сопровождавшихся метафизическим и мистическим пониманием энергии и электричества в период раннесоветской модернизации. Климент Редько, обучавшийся в школе иконописи Киево-Печерской лавры, реинтерпретирует исихастское понимание Фаворского света, повлиявшее на традицию православной иконописи. На его картине «Восстание» символическим

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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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Virijevic, Mitrovic Vera. "Paris Period of Cuca Sokić 1936-39." Zbornik narodnog muzeja istorija umetnosti, no. 18 (2008): 457–69. https://doi.org/10.5281/zenodo.10116737.

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The Paris period of Ljubica Sokić encompasses the paintings from 1936 to 1939, whi-ch she produced in the course of her stay in Paris, including a couple that she did during her periodical visits home in Belgrade. They differ in terms of style and theme - and include genre-scenes, views of the city itself, its parks, streets, buildings, as well as in-teriors, mostly of her studio. In them, we notice the influence of contemporary french trends, and also her maturity and her gradual development of the idea of the autonomy of painting in relation to the perceived object of the painting.In Paris,

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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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Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.

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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his reje

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Merjian, Ara H. "Giorgio de Chirico's ‘Jewish Hour’: Metaphysical Painting in Ferrara, 1915-18." Art History 41, no. 5 (2018): 922–57. http://dx.doi.org/10.1111/1467-8365.12403.

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Lee, In-hee. "Nietzsche"s Philosophical Human Figure in De Chirico"s ‘Metaphysical Painting’." Journal of Korean Philosophical Society 167 (August 31, 2023): 259–94. http://dx.doi.org/10.20293/jokps.2023.167.259.

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Labaune-Demeule, Florence. "De Chirico Revisited: The Enigma of Creation in V.S. Naipaul’s The Enigma of Arrival." Commonwealth Essays and Studies 22, no. 2 (2000): 107–18. http://dx.doi.org/10.4000/1249p.

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The Enigma of Arrival openly claims Chirico’s painting to be its source of inspiration. The novel explains the process of creation, showing that the genesis of the work of art constantly hovers between intertextuality and meta-narration. The performative value of Naipaul’s narrative and its circular structure both draw the reader’s attention to parallels with Chirico’s painting and lead him away from it. The metaphysical point of view developed in Chirico’s vision enables the writer to preserve the truth of experience, thus unveiling the process of artistic creation while leaving the mystery o

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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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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.

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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and

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Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.

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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as

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Beaudin Pearson, Natasha. "Merleau-Ponty and Barthes on Image Consciousness: Probing the (Im)possibility of Meaning." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (2019): 8–18. http://dx.doi.org/10.6017/dupjbc.v6i1.11727.

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Why exactly do paintings and photographs affect us, despite being flat, inanimate objects? Merleau-Ponty and Barthes both attempted to answer just as much and arrived at two conflicting accounts of the ontology of image consciousness. In Merleau-Ponty’s conception, paintings offer an infinite number of hermeneutic possibilities, while in Barthes’, photographs are a “closed field of forces,” thereby making their meanings necessarily contingent and circumscribed. In an effort to identify the point of contention between the two theories, this paper first outlines Merleau-Ponty’s phenomenology of

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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.

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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to Do

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Mulhall, Stephen. "Constructing a Hall of Reflection." Philosophy 72, no. 280 (1997): 219–39. http://dx.doi.org/10.1017/s0031819100056850.

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Tom Phillips' painting for the dustjacket of the hardback edition of Metaphysics as a Guide to Morals depicts a faintly translucent, darkly-coloured, multi-layered lattice of letters, in which each character abuts directly upon others above, below and beside it, each overwrites or is overwritten by others of varying dimensions, but none is immediately decipherable as part of a word; and at the centre of this array is a geometrically precise, illuminated circle—perhaps emanating from a light located behind or under the layers of letters, perhaps from one directed at them from above. This image

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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.

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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct c

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Zamfir, Ioana. "Accuracy, veracity, and theological truth in the 16th century atlas <i>Theatrum Terrae Sanctae</i>." Proceedings of the ICA 4 (December 3, 2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-116-2021.

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Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in t

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Baumeister, Thomas. "Merleau-Ponty about le doute de Cézanne." Aesthetic Investigations 4, no. 2 (2021): 254–68. https://doi.org/10.5281/zenodo.5482874.

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Merleau-Ponty’s essay about Cézanne’s doubt from 1945 is still de- bated. Merleau-Ponty tries to explain the peculiarities of Cézanne’s pictorial lan- guage, for instance his abandonment of the geometrical perspective, as the expression of, what he calls, the “primordial perception”, which is free from the distortions of metaphysical dualism and modern sciences. There are two main problems here. First, <em>primordiality </em>remains an obscure notion, which may be explained by Cézanne’s work, rather than reversely. Secondly, Merleau-Ponty tends to forget tha

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Koltai, M. Gábor. "A reneszánsz színpadi horror világképe." Theatron 14, no. 2 (2020): 56–69. http://dx.doi.org/10.55502/the.2020.2.56.

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This paper examines how the epistemological crisis born of the destabilisation of the old word order reshaped early Modern English theatre, and how its reaction to the threatening chaos led to the emergence of the genre ‘revenge tragedy’ – although ‘metaphysical horror’ would be a more accurate moniker. Three exceptionally important representatives of this unique genre, Thomas Middleton, John Webster and John Ford, all had a different way of processing the foundational cultural experiences of the era (in the fields of theology, anatomy, astrology, painting, politics and gender,) and elevating

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Markov, A. V. "SCENIC REPRESENTATIONS OF A CONCERT IN THE INDEPENDENT RUSSIAN POETRY." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 347–52. http://dx.doi.org/10.35634/2412-9534-2021-31-2-347-352.

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The article examines the influence of pictorial models on the complex image of a concert in uncensored Russian poetry. It is proved that this image has always had an existential meaning associated with the characteristics of the individual and collective experience of death and immortality, and was not associated with the everyday environment of the concert. The concert turned into a universal symbol of the intense experience of time, its complex movement, allowing to revive dead musical material, and therefore revive the memory of individual people. Such a unique combination of collective exp

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Smilde, Berndnaut. "Nimbus." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 1 (2020): 174–77. http://dx.doi.org/10.37536/ecozona.2020.11.1.3651.

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The Nimbus works present a transitory moment of presence in a specific location. They can be interpreted as a sign of loss or becoming, or just as a a fragment from a classical painting. People have always had a strong metaphysical connection to clouds and through time have projected many ideas on them. Smilde is interested in the temporary aspect of the work. It's there for a few seconds before they fall apart again. The physical aspect is really important but the work in the end only exists as a photograph. The photo functions as a document of something that happened on a specific location a

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Baumeister, Thomas. "Merleau-Ponty about Le doute de Cézanne." Aesthetic Investigations 4, no. 2 (2021): 254–68. http://dx.doi.org/10.58519/aesthinv.v4i2.11918.

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 Merleau-Ponty’s essay about Cézanne’s doubt from 1946 is still in discussion. Merleau-Ponty tries to explain the peculiarities of Cézanne’s pictorial language, for instance his abandonment of the geometrical perspective, as expression of, what he calls, the “primordial perception”, which is free from the distortions of metaphysical dualism and of modern sciences. There are two main problems here: 1. that primordiality remains an obscure notion, which is more explained by Cézannes work, than it explains it. 2. Merleau-Ponty tends to forget, that Cézanne’s perception is first of all a pai

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Merjian, Ara H. "A surrealist ‘little sister’?: Dorothea Tanning’s (femme) Fatala (1947), metaphysical painting, and the roman policier." Word & Image 37, no. 2 (2021): 178–91. http://dx.doi.org/10.1080/02666286.2020.1866976.

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Sulikowska-Dejena, Agata. "A Plein Air Painting Event as a Liminal Experience Building the Artists’ Community." Przegląd Socjologii Jakościowej 20, no. 3 (2024): 36–49. http://dx.doi.org/10.18778/1733-8069.20.3.03.

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The subject of the article is a plein air painting event, considered as a liminal experience that is widely practiced by traditional artists to create and maintain communities in the local and supra-local art fields. The interest in organizing this kind of meetings among artists, modern art galleries, and art schools is not decreasing, and one can talk about the exceptionally long duration of the phenomenon. This article discusses the experience of participants for whom these joint meetings have a metaphysical dimension. The descriptions and expressions used by the artists have become the insp

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Ziółkowski, Sebastian. "Angoisse(s) salacrienne(s). Réappropriation de motifs expressionnistes dans L’Archipel Lenoir et Histoire de rire d’Armand Salacrou." Cahiers ERTA, no. 29 (March 31, 2022): 152–75. http://dx.doi.org/10.4467/23538953ce.22.006.15627.

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Salacrou’s anguish. Reappropriation of some expressionist motifs in L’Archipel Lenoir and Histoire de rire by Armand Salacrou This paper aims to highlight the exploitation of some expressionist motifs in two plays by the French playwright Armand Salacrou (1899-1989), L’Archipel Lenoir and Histoire de rire throughout the painting of a metaphysical anxiety. In those pieces we can see realisation of such expressionist concepts as the war of brains (bataille des cerveaux), irradiation of the author’s I which conditions an antinaturalistic and caricatured expression of anxiety in an axiologically m

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Guardiano, Nicholas. "Notes toward a Semeiotic of Art." Cognitio: Revista de Filosofia 24, no. 1 (2023): e61862. http://dx.doi.org/10.23925/2316-5278.2023v24i1:e61862.

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Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wa

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Matsan, Konstantin M. "Apologetics in V.N. Ilyin’s Works on Aesthetics." Almanac “Essays on Conservatism” 64 (June 30, 2021): 335–43. http://dx.doi.org/10.24030/24092517-2021-0-2-335-343.

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In the article the author tries to view the works of Russian philosopher V.N. Ilyin on aesthetics as apologetic. Ilyin’s philosophic system that he himself termed as general morphology is based on such categories as “form”, “image” and “icon” as key elements, and thus it has obvious aesthetic dimension. General metaphysical principles stated in Ilyin’s theoretic and philosophic works that were not published in his lifetime, were reflected in his publicistic works – on aesthetics and liturgics. According to Ilyin, “form” is something by way of which the invisible ousia (essence) of the thing ma

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Tarasenko, Andrii, and Olga Tarasenko. "Interpretation of Lesya Ukrainka's feerie drama in the Panel Painting by R. Petruk, “Forest Song”. School of M. Storozhenko." Art and Design, no. 1 (May 20, 2025): 80–91. https://doi.org/10.30857/2617-0272.2025.1.6.

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The study aimed to reveal the individual interpretation of Lesya Ukrainka's drama-feerie in the painting by R. Petruk “Forest Song”. Hermeneutical, comparative, iconographic, iconological, historical and cultural methods were used. The correlation between the content of the drama and the mythopoetics of the pictorial image was analysed. The panel painting was studied concerning the theme of earthly and heavenly love in world art. The study analysed the nature of personification of images of natural elements; the conventionality of pictorial and spatial solutions; and the role of attributes in

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Ekong, Joseph T. "Rethinking John S. Mbiti’s Metaphysical Trajectory of Time in Africa." European Journal of Philosophy, Culture and Religion 6, no. 1 (2022): 43–56. http://dx.doi.org/10.47672/ejpcr.1170.

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Purpose: To reawaken the consciousness of all Africans to the implications of the metaphysical trajectory of time in Africa, which John S. Mbiti presents, in relation to personal and collective human development in Africa. Methodology: This work is expository, critical, and evaluative in its methodology. Findings: In Western thought, there is mathematical and linear time, as dominant ideas. Dominant because some philosophers, in particular Bergson, have their notion of time as mainly inclined to be lived, organic. It is linear time in the sense that, it is an imagined line through

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Harte, Tim. "A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal." Slavic Review 64, no. 1 (2005): 43–58. http://dx.doi.org/10.2307/3650066.

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In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion

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Kuznetsova, Ekaterina. "ARNOLD BÖCKLIN’S PICTORIAL MOTIFS IN THE POETRY OF IVAN BUNIN AND ANDREY BELY." Lomonosov Journal of Philology, no. 1 (March 22, 2023): 180–94. http://dx.doi.org/10.55959/msu0130-0075-9-2023-1-180-194.

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The article deals with the reception of Arnold Böcklin’s pictorial heritage in the Russian culture and literature of the Silver Age. It has gone through all the stages from a violent passion to cooling and almost complete oblivion. Th e focus is on the lyrics of Ivan Bunin and Andrey Bely of the 1900s. The author reveals the ways of acquaintance of the Russian public with the paintings of the Swiss painter (foreign travels, reproductions) and the peculiarities of their perception. By means of comparative analysis, the author reveals the similarities in the plots and images of some of the poems

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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.

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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory

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Lu, Peiying. "The Influence of Neoplatonism on Michelangelo and His Works." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 155–59. http://dx.doi.org/10.54097/ehss.v11i.7608.

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Neo-Platonism had an influence on many artists during the Renaissance. Michelangelo is one of the most perfect artists to inherit and develop his ideas. This paper will take Neo-Platonism and the influence of Neo-Platonism on Michelangelo's artistic creation as the theme, combining the ideas of Neo-Platonism and the presentation of Michelangelo's works. In exploring this connection, it is found that Michelangelo did not accept Neo-Platonism as some sort of convincing philosophical system, much less as the fashion of the age, but as a metaphysical release of his own. Therefore, Michelangelo had

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Olshin, Benjamin B. "How to Talk about Physical Reality? Other Models, Other Questions." Journal of Philosophy and Culture 5, no. 1 (2014): 25–66. http://dx.doi.org/10.4314/jpc.v5i1.2.

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Investigating the nature of our apparent physical reality is a profound challenge. Our models from physics, while powerful, do not treat reality per se. The famous painter Paul Gaugin articulated the relevant existential questions famously in a grand painting - questions that also give the painting its title: D’où venons-nous? Que sommes-nous? Où allons-nous? People of religious faith, of course, assume that one can know the ultimate truth of reality, and, then, know the answers to these questions. But even in such a case, there is the issue of how a believer has obtained their faith, through

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Юшкова, О. А. "Simple things and metaphysical still life in Moscow art of the 1960s and 1970s." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 280–95. http://dx.doi.org/10.46748/arteuras.2023.04.018.

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Статья посвящена проблеме обращения художников разных направлений к мотиву «простые вещи», что нашло отражение в натюрморте 1960–1970-х годов. Обычно каждое направление рассматривается отдельно от общего художественного процесса. Автор на примере натюрморта прослеживает, как трансформируется проблематика, заданная временем, в творчестве мастеров официального круга, сурового стиля и различных вариантах андеграунда. Простые вещи неизбежно должны были привлечь внимание после почти тридцатилетнего преобладания тематической картины в советском искусстве. В период оттепели начинают цениться малые жа

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Jassim Hassan Al Bayati, Sahib, and Safaa Salah Rashid. "The image of the soldier in contemporary Iraqi painting." Al-Academy, no. 106 (December 15, 2022): 187–204. http://dx.doi.org/10.35560/jcofarts106/187-204.

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The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topi

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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.

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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and re

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