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Journal articles on the topic 'Truth of Art'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Moutsopoulos, Evanghelos A., Jeanne Ferguson, and Evanghelos A. Moutsopoulos. "Truth in Art." Diogenes 33, no. 132 (1985): 107–15. http://dx.doi.org/10.1177/039219218503313207.

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2

Maiste, Juhan. "ART AND TRUTH." Baltic Journal of Art History 7 (November 19, 2014): 135. http://dx.doi.org/10.12697/bjah.2014.7.07.

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3

Pinter, Harold. "Art, Truth & Politics." PMLA/Publications of the Modern Language Association of America 121, no. 3 (2006): 811–18. http://dx.doi.org/10.1632/003081206x142904.

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In 1958 I wrote the following: ‘there are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.‘

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4

Dillon, Martin C. "Art, Truth, and Illusion." Symposium 8, no. 2 (2004): 299–312. http://dx.doi.org/10.5840/symposium20048229.

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5

Olivier, G. "Derrida, art and truth." Journal of Literary Studies 1, no. 3 (1985): 27–38. http://dx.doi.org/10.1080/02564718508529760.

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6

Zuidervaart, Lambert. "Art, truth and vocation." Philosophy & Social Criticism 28, no. 2 (2002): 153–72. http://dx.doi.org/10.1177/0191453702028002800.

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7

Schufreider, Gregory. "The Art of Truth." Research in Phenomenology 40, no. 3 (2010): 331–62. http://dx.doi.org/10.1163/156916410x524448.

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AbstractIn The Truth in Painting, Derrida insists that Heidegger’s treatment of “a famous picture by Van Gogh” marks “a moment of pathetic collapse.” While we would agree, we would insist that this example does not render Heidegger’s entire philosophy of art suspect. Instead, if his reading of Van Gogh’s painting is “derisory and symptomatic,” it is nonetheless “significant,” if only insofar as it provides an indication of Heidegger’s underestimation of the plastic arts in favor of the elevation of poetry—an underestimation that may be corrected in light of what we might regard as his true phi

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8

Dayan, Peter. "Truth in Art, and Erik Satie's Judgement." Nineteenth-Century Music Review 6, no. 2 (2009): 91–107. http://dx.doi.org/10.1017/s1479409800003116.

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AbstractIt is certainly true that Satie, in his later years, did not tire of repeating that there is ‘no Truth in Art’; and in saying so, he was doubtless very much in tune with the spirit of his artistic milieu, which included, after all, such aesthetic anarchists as Picabia and Tzara, as well as the great artistic revolutionaries of the time, Picasso and Stravinsky, for whom he had unbounded admiration. And every time he did so, he was careful to attribute the erroneous belief that there is a Truth in Art to that class of writers whom he variously called ‘critiques’, ‘pédagogues’, ‘Pontifes’

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9

Chebbi, Noureddine. "Truth and Art from Nietzsche's perspective." Journal of Science and Knowledge Horizons 3, no. 03 (2023): 126–54. http://dx.doi.org/10.34118/jskp.v3i03.3651.

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This article aims to analyze Nietzsche's vision of the relationship between Truth and Art by focusing on how they are connected. Starting by questioning traditional perceptions of "truth", explaining its nihilistic traits and its antagonism to life, and critiquing the Platonic conception that diminishes the importance of art on the grounds of its connection with the sensible. Culminating in highlighting the aesthetic characteristic of the world from the perspective of an interpretative and vital space. Where the will to power is the source of all "meaning and value." Ending with exploring the

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10

Flamme, Michelle La. "The Traumatic Truth." Canadian Theatre Review 137 (January 2009): 86–89. http://dx.doi.org/10.3138/ctr.137.016.

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Trauma in Aboriginal performance art practice implicitly reveals the precariousness of any established Aboriginal history. In the reenactment of trauma - individual pain confronting collective pain - performance art does not make meaning or create closure. Marcia Crosby

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11

Bacsó, Béla. "Art and “The Sublime Truth”." Graduate Faculty Philosophy Journal 28, no. 1 (2007): 195–208. http://dx.doi.org/10.5840/gfpj200728123.

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12

McCall, Tom. "Is There Truth in Art?" MFS Modern Fiction Studies 45, no. 2 (1999): 545–49. http://dx.doi.org/10.1353/mfs.1999.0030.

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13

Falla, Carlo. "TRUTH, BEAUTY, ART and SCIENCE." Journal of Interior Design 20, no. 2 (1994): 1. http://dx.doi.org/10.1111/j.1939-1668.1994.tb00189.x.

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14

Rockmore, Tom. "Remarks on Art and Truth." East Asian Journal of Philosophy 2, no. 2 (2023): 45–51. http://dx.doi.org/10.19079/eajp.2.2.45.

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The death of Joseph Margolis inspired this special issue. Joe, as he was fondly known, was a towering figure whose work influenced several fields of philosophy for nearly seven decades, beginning in the 1950s. Though he is perhaps best known for his work in aesthetics, which we honour here, he contributed to nearly every discipline and subfield of philosophy, from metaphysics to philosophy of language, and from philosophy of medicine to feminist philosophy.

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15

Lee, Ihn-Bum. "The Problems of History & Truth in Art : Toward the Seminar “Contemporary Art and Media, Truth and ‘Post-truth’”." Journal of Aesthetics & Science of Art 57 (June 30, 2019): 135–58. http://dx.doi.org/10.17527/jasa.57.0.05.

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16

Apostolopoulou, Georgia. "Panayotis Michelis’ Critique of Dialectics." WISDOM 2, no. 5 (2015): 41. http://dx.doi.org/10.24234/wisdom.v2i5.34.

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Panayotis Michelis focuses on Plato’s and on Hegel’s dialectics, because these philosophers put the question of art on the highest level of truth. He, however, argues that they pose a ‛outside dialectics’ on art, because they consider truth as metaphysical truth and then they maintain art fails more or less to manifest this truth. Michelis develops a dialectics of synthesis as a ‛dialectics in art’ and vindicates the place of his aesthetics between philosophy of art and history of art.

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17

Sharma, Yam Prasad. "Philosophy in Art Research." Journal of Fine Arts Campus 4, no. 1 (2022): 12–17. http://dx.doi.org/10.3126/jfac.v4i1.51743.

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Philosophy is the exploration, quest or search of truth, essence, idea or a thing that has certain value. In art research, there is a question, and we search for the answer. The answer is the essence. Ontology is the study of essence or existence. There is a method to find the truth or essence. Epistemology is the study of method or way of finding truth. What is the use or value of the truth to the researcher and the society? Does it teach or help us in our life? Does it provide us beauty and pleasure? Axiology is the study of the value of the research. There is a problem in a research area. W

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18

Makarushka, Irena. "Subverting Eden: Ambiguity of Evil and the American Dream in Blue Velvet." Religion and American Culture: A Journal of Interpretation 1, no. 1 (1991): 31–46. http://dx.doi.org/10.1525/rac.1991.1.1.03a00030.

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In his early writing on language, truth, and art, Nietzsche notes that art “treats illusion as illusion; therefore it does not wish to deceive; it is true.” Insofar as art is an illusion whose only truth is that it is illusion, art is only true as a lie. When the illusion of art is mistaken for truth, art is destroyed. Nietzsche's observations about the truth of a work of art are instructive when considering the questions raised by postmodern artworks such as Blue Velvet, a film written and directed by David Lynch.As Lynch explores the consequences of mistaking illusion for truth in Blue Velve

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19

Küplen, Mojca. "Narrative Art as a Route to Self-Knowledge and Self-Development." Aesthetic Investigations 3, no. 1 (2019): 83–101. https://doi.org/10.5281/zenodo.4067720.

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Debates about whether works of art can serve as a source of knowledge about the world or whether they can promote other-understanding have been common in contemporary aesthetics and philosophy of art. However, little has been written on the effects that art has on cultivating self-knowledge and self-development. While for most of us it seems obvious that art has these effects, little is known about how and why these effects occur. Addressing this issue is the main aim of the present paper. The gist of the argument is that narrative art, understood as a mental simulation gives us a unique oppor

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20

Nina. "Artists as truth-seekers." Approaching Religion 11, no. 1 (2021): 4–27. http://dx.doi.org/10.30664/ar.98310.

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This article focuses on the concept of the seeker and considers how the analytical tool of seekership, defined and developed in the sociology of religion, could be applied to the study of art and esotericism. The theoretical argument is made more tangible with the example of the Finnish artist Akseli Gallen-Kallela (1865–1931), whose life story, art and writings resonate with the concept of seekership. The ways in which Gallen-Kallela writes about his interest in esotericism and the dawn of the new age appear in a new light; as part of the processes of a spiritualisation of modern art and reli

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21

Елена Алексеевна, Склярова. "RUSSIAN ART AS A REFLECTION OF RUSSIAN MENTALITY." STATE AND MUNICIPAL MANAGEMENT SCHOLAR NOTES 1, no. 1 (2023): 252–57. http://dx.doi.org/10.22394/2079-1690-2023-1-1-252-257.

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The article shows the specifics of the Russian mentality and Russian art. It is noted that Russian art as an original cultural phenomenon is a reflection in the essential features of the Russian mentality: the desire for the sacred, the Absolute, universality, catholicity, cosmism, the search for social truth, sacrifice, irrationality, turning to open "heart" truths, justice, mercy.

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22

Johnson, Galen A. "On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne." Research in Phenomenology 43, no. 3 (2013): 475–515. http://dx.doi.org/10.1163/15691640-12341271.

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Abstract Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and viewer, and is not limited to the domain of language, but words and symbols mix together with colors and f

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23

Rockmore, Tom. "Remarks on Art, Truth, and Culture." Journal of Philosophical Research 40, no. 9999 (2015): 235–38. http://dx.doi.org/10.5840/jpr201540supplement28.

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24

Sakharuk, Valeriy. "Contemporary Ukrainian Art: Truth and Myths." Contemporary Art, no. 17 (November 30, 2021): 209–18. http://dx.doi.org/10.31500/2309-8813.17.2021.248457.

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It is becoming ever harder to discover the truth about the events that comprise the history of contemporary Ukrainian art. What gets in the way are the evaluations, interpretations and opinions whose objectivity is cast in doubt by the biases of their authors, largely participants of the events. This article is an attempt to take an unbiased look at these events, define their context in art, and describe the details that have so far escaped the scholarly attention.

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25

Seol, Min. "Heidegger and the Truth of Art." Korean Journal of Philosophy 131 (May 31, 2017): 73–96. http://dx.doi.org/10.18694/kjp.2017.05.131.73.

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26

Figal, Günter. "Is There Any Truth in Art?" Epoché 18, no. 2 (2014): 551–61. http://dx.doi.org/10.5840/epoche201411714.

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27

McDonald, Aya Louisa. "Art, War and Truth: Nomonhan 1939." Journal of War & Culture Studies 8, no. 2 (2015): 143–57. http://dx.doi.org/10.1179/1752627215z.00000000068.

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28

Guignon, Charles. "TRUTH AS DISCLOSURE: ART, LANGUAGE, HISTORY." Southern Journal of Philosophy 28, S1 (1990): 105–20. http://dx.doi.org/10.1111/j.2041-6962.1990.tb00569.x.

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29

Kaplan, C. S. "Math art: truth, beauty, and equations." Journal of Mathematics and the Arts 13, no. 3 (2019): 305–7. http://dx.doi.org/10.1080/17513472.2019.1663715.

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30

Malvern, Sue. "Art and War: Truth or Fiction?" Art History 19, no. 2 (1996): 307–12. http://dx.doi.org/10.1111/j.1467-8365.1996.tb00669.x.

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31

Bobrowska, Ewa. "Rhetoric of shown truth performance art." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 86–106. http://dx.doi.org/10.5604/01.3001.0012.9885.

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This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of self-torture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the context of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and

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32

Gavrilin, K. N., and I. A. Fadin. "Dellshaw's art worlds: truth or fiction?" Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-2 (2022): 271–83. http://dx.doi.org/10.37485/1997-4663_2022_4_2_271_283.

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33

Sobennikov, Anatoly. "TRUTH AS AN AXIOLOGICAL DOMINANT (V. M. SHUKSHIN IN A RETROSPECTIVE OF RUSSIAN LITERATURE)." Проблемы исторической поэтики 19, no. 2 (2021): 373–86. http://dx.doi.org/10.15393/j9.art.2021.8482.

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The concept of “truth” in Russian literature is historically associated with justice, righteousness, truth and fairness. In the second half of the 19th century, this concept was actualized in the works of F. M. Dostoevsky, L. N. Tolstoy, and A. P. Chekhov. In Dostoevsky's “ideological novel,” the emphasis is on the hero's finding “truth-verity,” “to live according to the truth” means to live with Christ. Besides the “truth of God”, the “truth of the people” is also of great importance in Dostoevsky's axiology. It is the people who carry the ideal of Christ in their hearts. The writer also disc

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34

Sobennikov, Anatoly. "Truth as an Axiological Dominant (V. M. Shukshin in a Retrospective of Russian Literature)." Проблемы исторической поэтики 19, no. 2 (2021): 373–86. https://doi.org/10.15393/j9.art.2021.9482.

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The concept of “truth” in Russian literature is historically associated with justice, righteousness, truth and fairness. In the second half of the 19th century, this concept was actualized in the works of F. M. Dostoevsky, L. N. Tolstoy, and A. P. Chekhov. In Dostoevsky's “ideological novel,” the emphasis is on the hero's finding “truth-verity,” “to live according to the truth” means to live with Christ. Besides the “truth of God”, the “truth of the people” is also of great importance in Dostoevsky's axiology. It is the people who carry the ideal of Christ in their hearts. The writer also disc

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35

Al.Sobh, Mahmoud A., Ameen Z. Al Khamaiseh, and Samer M. Al-Zoubi. "The Artistic Truth in Aristotle’s Criticism." European Journal of English Language and Literature Studies 10, no. 4 (2022): 58–63. http://dx.doi.org/10.37745/ejells.2013/vol10n4pp5863.

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The present study examines Aristotle's definition of art. This examination helps in understanding the nature of art and the artistic truth it ought to carry. Aristotle believes that there is truth in art because it is not independent from the reality from which it emerges. The study advances the thesis that all arts are mimetic; therefore, they are produced by imitation. This notion has misled many thinkers by thinking that art is three times separated from the truth, as Aristotle's teacher, Plato has demonstrated in his argument on the nature of imitative arts. However, Aristotle does not rep

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36

Daknys, Mantas. "Three Interpretations of the Truth of a Work of Art – Gadamer, Heidegger, Šliogeris." Problemos 103 (April 25, 2023): 77–89. http://dx.doi.org/10.15388/problemos.2023.103.6.

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This article examines interpretations of ontological truth of the work of art in the philosophies of Arvydas Šliogeris, Hans G. Gadamer and Martin Heidegger. All of them believe that artwork may reveal the ontological truth. This common feature suggests the possibility to consider these three interpretations as a Heideggerian-type understanding of art. This paper argues that, while sharing the belief about the possibility of ontological truth in the artwork, their concepts of truth are fundamentally different, precisely because of the relation with language. In the first part of the article, t

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37

Daraškevičiūtė, Vaiva. "TIESOS IR MENO KŪRINIO SANTYKIS: B. CROCE IR H. G. GADAMERIS." Problemos 77 (January 1, 2010): 163–73. http://dx.doi.org/10.15388/problemos.2010.0.1892.

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Straipsnyje aptariamas tiesos ir meno kūrinio santykis B. Croce’s ir H. G. Gadamerio filosofijoje. Lyginami Croce’s estetikos ir Gadamerio meno filosofijos principai, analizuojami panašumai ir skirtumai. Croce akcentuoja meno autonomiją ir subjektyvųjį intuityviojo pažinimo lygmenį, jo estetikoje per meno kūrinį patiriamas intuityvusis tiesos matmuo, tačiau esama ir universalumą suponuojančių meno patirties aspektų. Gadameris meno kūrinio supratimo analize siekia pagrįsti hermeneutikos universalumą – tiesa čia priešinama metodologijai ir suvokiama kaip supratimo įvykis. Straipsnyje grindžiama

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38

Sunarto and Irfanda Rizki Harmono Sejati. "The Art Education Drawing on Configuration of Art Education: Philosophy Perspective." Technium Social Sciences Journal 8 (May 22, 2020): 64–70. http://dx.doi.org/10.47577/tssj.v8i1.631.

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This article discusses about drawing on configuration of art education, a philosophy perspective. Drawing is discussed philosophically which is based on: ontology, epistemology, and axiology. Drawing is a work of fine arts. Drawing can be defined as a picture or diagram which is drowned by using pencil, pen or painting crayon, especially a monochrome picture. From philosophical side, drawing has a “truth”. Drawing that comes pure from mind represent a shape of two dimensional look. Education; drawing will form honesty (Logico Aestheticus) and truth (Logico Mathematicus). Ontologically (intrins

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39

Condello, Angela. "The art of truth : remarks made between political and legal discourse." Soft Power 6, no. 2 (2019): 266–79. http://dx.doi.org/10.14718/softpower.2019.6.2.15.

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In 1873, Nietzsche claimed that a generally and uniformly valid designation is invented for things. This designation has normative force: as a matter of fact, the «linguistic» legislation dominating the practice of language establishes the first laws of truth (On Truth and Lies in a Nonmoral Sense). In other words, for Nietzsche the artificial nature of truth, given the artificial nature of language itself, was out of discussion. In this paper, I approach the contemporary debate on post-truth by juxtaposing it with the idea of «artificial» or «conventional» truth typical of legal discourse and

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40

Latif, Abdul, and Luqman Bin Usman Imam. "Abu al-‘Atahiyyah's Perspective on Religious Moderation in Arabic Poetry." Jurnal Al Bayan: Jurnal Jurusan Pendidikan Bahasa Arab 16, no. 1 (2024): 185. http://dx.doi.org/10.24042/albayan.v16i1.22026.

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A.Teeuw stated that human being have at least four paths to understanding reality and truth: religion, science, philosophy, and art. Literature is distinct from three other truths as art. Literature can go beyond dogma, science, and philosophy. Poets can continue to be creative and imaginative, offering unrestricted thinking as long as their language moves the reader's emotions in accordance with truth fiction. This article attempted moderation with the four indicators of religious moderation developed by the Ministry of Religious Affairs of the Republic of Indonesia which based on Abu al-'Ata

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41

Yaacob, Adli, and Siti Hajar Ramli. "THE CONCEPT AND THE PHILOSOPHY OF ISLAMIC LITERATURE ACCORDING TO MUHAMMAD QUTB." International Research Journal of Shariah, Muamalat and Islam 3, no. 9 (2021): 33–44. http://dx.doi.org/10.35631/irjsmi.39005.

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Muhammad Qutb was a writer and Islamic thinker. He believed that Islamic art (literature) is not necessarily the art of talking about Islam. Islamic art is not an advice, direct sermon, and insistence on the following goodness. It is an art that draws an image of existence from the perspective of perception (tasawwur) of Islam on everything that exists. It is a wonderful expression of the universe, life, and humanity, through the Islamic teachings of it. Islamic art is an art that finds the perfect interrelation between the beauty (al-Jamal) and the truth (al-Haq). Beauty refers to the reality

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42

Ghemawat, Pankaj. "Globalization Under Fire: How Should Leaders Respond?: Strategic Truths for a Post-Truth World." IESE Insight, no. 35 (December 15, 2017): 15–22. http://dx.doi.org/10.15581/002.art-3094.

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43

Rich, Danny. "The Art of Doubting." European Judaism 53, no. 1 (2020): 56–63. http://dx.doi.org/10.3167/ej.2020.530108.

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Many will agree that the world around them changes at a faster pace than perhaps one might be able to follow, and politically the world seems to have moved into a constant battle between truth, lies and the in-between. Many seek to distinguish three types of statement – first, the true; second, the matter of faith with a possibility of truth; and third, the absurd – and there is much of this grappling within the sphere of religion. Doubt is very much an integral part of grappling with Judaism, and Jewish identity, and it is certainly worth considering whether this religious doubt can help brea

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44

K., Yanchuk, and Harashchak T. "ANALYSIS OF THE GENRE PALETTE F. KIESLER’S CREATIVE ACTIVITIES." Architectural Studies 6, no. 1 (2020): 41–45. http://dx.doi.org/10.23939/as2020.01.041.

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Kiesler’s art was not based on the theory of form, color, and means; his art was not a political instrument to comment on the state of society, and he did not consider his art to be the product of a scientific process, a result that contained a truth that was absolute. He believed that his art revealed a truth that science could not see, and that truth was the key to a “core” existence. He believed that his process and his ritual were attacked by the deceptive beliefs of others. “A revived art that has been stolen from a warm embrace, freezing in its nakedness, cooled by the sweat of its foreh

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45

Liebmann, Marian. "Picturing truth and reconciliation." Temida 7, no. 4 (2004): 73–76. http://dx.doi.org/10.2298/tem0404073l.

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This is an account of the workshop run at the conference Truth and reconciliation in the former Yugoslavia: Where are we now and where to go? Even in such a short workshop, it seemed that it was possible to share difficult areas of the past, and move on to looking at hopes for the future. The use of art materials seemed to facilitate the expression of aspects difficult to put into words. There seems to be potential for extending this method. Yet it is not without its dangers, if used with a vulnerable group of people, or in an insecure situation, or in an insensitive way. It could open doors w

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46

Schlassa, Soren. "Does Art Have A Truth-Seeking Project?" International Journal of Undergraduate Research and Creative Activities 9, no. 1 (2018): 3. http://dx.doi.org/10.7710/2155-4838.1174.

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47

Dow, Kathleen. "Art and the Symbolic Element of Truth." International Philosophical Quarterly 36, no. 2 (1996): 173–82. http://dx.doi.org/10.5840/ipq19963621.

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48

Nehamas, Alexander. "A good life: Friendship, Art and Truth." Conatus 2, no. 2 (2018): 115. http://dx.doi.org/10.12681/conatus.15992.

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In September 2017 Alexander Nehamas kindly accepted our invitation to have a meeting in Athens in order to discuss several issues of philosophical interest; with his latest publication On Friendship (New York: Basic Books, 2016) as a starting point we soon moved over to a multitude of topics Nehamas has so far dealt with. The whole conversation spirals around the probably most challenging and demanding issue as far as practical philosophy is concerned – yet one every moral agent needs to provide an adequate answer to during his lifetime: Values. Do they exclusively belong to the domain of mora

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49

HEPBURN, RONALD W. "Art, Truth and the Education of Subjectivity." Journal of Philosophy of Education 24, no. 2 (1990): 185–98. http://dx.doi.org/10.1111/j.1467-9752.1990.tb00233.x.

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50

Blackburn, Simon. "On Reading Scruton: Art, Truth, and Temperament." Philosophy 94, no. 3 (2019): 367–81. http://dx.doi.org/10.1017/s0031819119000251.

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AbstractArt is the one corner of human life in which we may take our ease. To justify our presence there the only thing that is demanded of us is a passion for representation. In other places our passions are conditional and embarrassed; we are allowed to have only so many as are consistent with those of our neighbours; with their convenience and well-being, with their convictions and prejudices, rules and regulations. Art means an escape from all this. Wherever her brilliant standard floats the need for apologies and exonerations is over; there it is enough simply that we please or that we ar

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