By Jason Gaiger
This ebook bargains a fascinating and complicated examine the debates and concepts thinking about the aesthetics of portray - a part of a massive new sequence from Continuum's philosophy list."Aesthetics and portray" introduces and opens up present debates and concepts within the aesthetics of portray. on the book's centre is an research of the complicated courting among what a portray depicts and the potential during which it really is depicted. The booklet seems at: how and why pictorial illustration should be individual from different kinds of illustration; the connection among the painted floor and the depicted topic; the 'rules of illustration' particular to portray; summary artwork and non-representational portray; portray as an traditionally reflexive and self-critical perform; the latest technological and aesthetic advancements and their implications; and, the modern demanding situations to portray. a worldly remedy of significant rules in artwork and philosophy, "Aesthetics and portray" is still hugely readable all through, supplying a transparent and coherent account of the character of portray as an artwork form." The Continuum Aesthetics sequence" appears on the aesthetic questions and matters raised via all significant paintings types. Stimulating, enticing and available, the sequence deals nutrition for notion not just for college kids of aesthetics, but in addition for a person with an curiosity in philosophy and the humanities.
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Additional info for Aesthetics and Painting (Continuum Aesthetics) (Continuum Aesthetics Series) by Jason Gaiger (2008-11-06)
Whereas P(1) assumes that the viewer looks at a painting as if it were continuous with ordinary experience, P(2) acknowledges that the viewer brings a different set of expectations to a painting, some of which are specifically pictorial. We can examine the tension between these two conceptions of painting – and the way in which artists working within the naturalist tradition of Italian Renaissance art were able to exploit this tension for aesthetic effect – by considering a painting by Giovanni Bellini that was produced for the altarpiece in the church of San Zaccaria in Venice in 1505 (Plate 4).
On Painting contains the first written presentation of a theory of linear perspective. Although artists had been painting objects in perspective prior to Alberti’s treatise, they seem to have relied on intuition and empirical judgement rather than following a scientifically grounded procedure. Techniques for representing certain types of objects were passed down between artists, but this knowledge was largely acquired through trial and error. What Alberti offers for the first time is a systematic theory of perspective construction, based on mathematical principles, that artists could employ irrespective of their chosen subject matter.
22 It seems that Plato was the first to identify the concept of mimˉesis as the key to explaining the distinguishing features of painting and the other ‘imitative arts’, among which he includes drama and music. 23 His use of the term decisively shaped subsequent attempts to understand the distinctive character of art, and it continues to inform the ideas of philosophers working today. Nonetheless, the problems of translating both techneˉ and mimeˉ sis need to be borne in mind as we proceed since Plato’s distinctions do not always map neatly onto our own.