Gotowe bibliografie tematyczne / Metaphysical painting

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Gotowa bibliografia na temat „Metaphysical painting”

Autor: Grafiati

Data publikacji: 28 września 2024

Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Metaphysical painting"

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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Rozprawy doktorskie na temat "Metaphysical painting"

Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.

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This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written cultu

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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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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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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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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. ""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. "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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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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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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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 南華大學 美學與視覺藝術學系碩士班 98 The thesis''s main research objective is to explore the expressive style and the progression of creative process of Giorgio de Chirico''s metaphysical paintings, and to apply metaphysical painting''s concepts and theories on the author''s own artistic creations. Giorgio de Chirico''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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Książki na temat "Metaphysical painting"

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

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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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Części książek na temat "Metaphysical painting"

Townsend, Christopher. "A Metaphysical Theater: Abstract Painting, Color Music, and Futurist Experiments in Avant-garde Film." In Re-Reading the Age of Innovation. Routledge, 2022. http://dx.doi.org/10.4324/9781003191629-6.

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Crocker, Stephen. "One or Many Planes: The Composition of Intervals in Painting and Film." In Bergson and the Metaphysics of Media. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137324504_3.

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Isto, Raino. "Sali Shijaku’s "Zëri i Masës" and the Metaphysics of Representation in Albanian Socialist Realist Painting." In Workers Leaving the Studio. punctum books, 2015. https://doi.org/10.21983/p3.0115.1.04.

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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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Rudd, Anthony. "Metaphysical Implications." In Painting and Presence. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0008.

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Abstract Starting from Merleau-Ponty’s dictum that ‘Every theory of painting is a metaphysics,’ this chapter expands on and defends some of the philosophical implications of the theory of painting developed so far. It starts by clarifying the notion of essence on which it is relying, which involves at least a modest realism about natural kinds, arguing that it is a commonsensical position and not metaphysically extravagant. It then argues that although the knowledge that painting gives us is non-paraphrasable and therefore non-discursive, it is not ‘non-conceptual’ in the classic empiricist se

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Rudd, Anthony. "Making the Invisible Visible." In Painting and Presence. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856289.003.0006.

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Abstract The emerging account of painting as disclosive, so far articulated mainly by reference to traditional and explicitly religious/metaphysical cultures, is further developed in a modern, secular context through an engagement with Merleau-Ponty’s philosophy of painting. The chapter takes as its main interpretative thread the idea—which Merleau-Ponty picks up from Klee—that painting makes the invisible visible. It considers various ways in which this might be understood, showing how Merleau-Ponty develops the idea that paintings disclose or express their subject’s manner or ‘style’ of bein

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Greeley, Anne. "de Chirico, Giorgio (1888–1978)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2051-1.

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The modern Italian painter Giorgio de Chirico was born in the port city of Volos in the Grecian province of Thessaly. After training in Athens and Munich, he lived briefly in Milan and Florence before moving to Paris in 1911. There, between 1911 and 1915, he developed the highly original, ‘metaphysical’ style of painting on which his reputation is chiefly founded. With this singular idiom––epitomised in his 1914 painting The Enigma of a Day––and the critical support of Guillaume Apollinaire, he established himself as one of the luminaries of the Parisian avant-garde, alongside Pablo Picasso an

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"3. The Prison-House of Painting: The Enigma of Fatality." In Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris. Yale University Press, 2014. http://dx.doi.org/10.37862/aaeportal.00059.007.

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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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Streszczenia konferencji na temat "Metaphysical painting"

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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