By Joseph D. Parry
Philosophy of artwork is typically thinking about the definition, appreciation and price of artwork. via an in depth exam of artwork from fresh centuries, artwork and Phenomenology is without doubt one of the first books to discover visible paintings as a style of experiencing the realm itself, exhibiting how within the phrases of Merleau-Ponty ‘Painting doesn't imitate the area, yet is an international of its own’. a superb sequence of chapters by means of a global staff of participants research the subsequent questions: Paul Klee and the physique in artwork color and history in Merleau-Ponty’s phenomenology of paintings self-consciousness and seventeenth-century portray Vermeer and Heidegger philosophy and the portray of Rothko embodiment in Renaissance paintings sculpture, dance and phenomenology. paintings and Phenomenology is vital analyzing for a person drawn to phenomenology, aesthetics, and visible tradition.
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Extra resources for Art and Phenomenology
2000) “Die Frage nach der Technik,” Vorträge und Aufsätze, Frankfurt am Main: Klostermann. —— (2002) “Der Ursprung des Kunstwerkes,” Holzwege, Frankfurt am Main: Klostermann. Klee, P. (1919) Schöpferische Konfession, Berlin: Erich Reiss Verlag. —— (1953) Pedagogical Sketchbook, New York: Frederick A. Praeger. —— (1956) Form und Gestaltungslehre, Vol. 2: Unendliche Naturgeschichte, J. ), Basel: Schwabe & Co. —— (1961) Paul Klee Notebooks, Vol. 1: The Thinking Eye, J. ), London: Lund Humphries.
7 We’ll look at specific examples of this in a moment. But I should note first that this partially explains the “abstractness” of Klee’s works. 8 Because his aim was showing us how we see in natural perception, rather than what we see when we’re attentively looking, Klee recognized that his art “must of necessity, as a result of entering into the specific dimensions of pictorial art, be accompanied by distortion of the natural form. For therein is nature reborn” (1964: 79). By presenting these elements to which we respond when we see objects, “art does not reproduce the visible; rather, it makes visible” (Klee 1919: 28).
1970) The Life of Brunelleschi, trans. C. Enggass, University Park: Pennsylvania State University Press. Merleau-Ponty, M. (1963) The Structure of Behavior, Boston: Beacon Press. M. ), The Primacy of Perception, Evanston, IL: Northwestern University Press. —— (1964b) “Indirect Language and the Voices of Silence,” in Signs, trans. R. Mcleary, Evanston, IL: Northwestern University Press. Nietzsche, F. (1968) The Will to Power, trans. J. Hollingdale, New York: Vintage. —— (1974) The Gay Science, trans.
Art and Phenomenology by Joseph D. Parry