F.M.L. Thompson (ed.)
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262795
- eISBN:
- 9780191753954
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262795.001.0001
- Subject:
- History, Cultural History
This book contains the texts of 17 lectures, delivered to the British Academy in 2001. Topics include Chinese Mountain Painting, prosperity and power in the age of Bede and Beowulf, Glyn Dwr, ...
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This book contains the texts of 17 lectures, delivered to the British Academy in 2001. Topics include Chinese Mountain Painting, prosperity and power in the age of Bede and Beowulf, Glyn Dwr, Shakespeare's sense of an exit, learning, liberty, poetry, social ethics, the House of Savoy during the Risorgimento, the disease of language and the language of disease, Gertrude Stein's differential syntax, Keith Douglas, Common Law's approach to property, Welfare-to-Work and genes.Less
This book contains the texts of 17 lectures, delivered to the British Academy in 2001. Topics include Chinese Mountain Painting, prosperity and power in the age of Bede and Beowulf, Glyn Dwr, Shakespeare's sense of an exit, learning, liberty, poetry, social ethics, the House of Savoy during the Risorgimento, the disease of language and the language of disease, Gertrude Stein's differential syntax, Keith Douglas, Common Law's approach to property, Welfare-to-Work and genes.
FORTINI BROWN PATRICIA
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265055
- eISBN:
- 9780191754166
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265055.003.0002
- Subject:
- Music, History, Western
This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a ...
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This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.Less
This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.
JOSEPH LEO KOERNER
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197263945
- eISBN:
- 9780191734038
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263945.003.0011
- Subject:
- History, Cultural History
This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel ...
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This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.Less
This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.
Lawrence M. Zbikowski
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195140231
- eISBN:
- 9780199871278
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195140231.003.0003
- Subject:
- Music, Theory, Analysis, Composition
This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This ...
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This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This proposal gained added weight when it was shown that metaphorical projection (which is one way to accomplish cross-domain mappings) was a general process not restricted to linguistic expressions but grounded in embodied experience. One example of cross-domain mapping that involves music in a rather immediate way is the technique of text painting, a compositional device that aims to represent in music specific images summoned by the text of a vocal work. Text painting provides a point of departure for the exploration of how cross-domain mapping is manifested in our understanding of music, as it leads to an extension of cross-domain mapping called conceptual blending. In a conceptual blend, elements from two correlated domains are projected into a third, giving rise to a rich set of possibilities for the imagination. It is shown that text painting can lead to such blends, as can program music.Less
This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This proposal gained added weight when it was shown that metaphorical projection (which is one way to accomplish cross-domain mappings) was a general process not restricted to linguistic expressions but grounded in embodied experience. One example of cross-domain mapping that involves music in a rather immediate way is the technique of text painting, a compositional device that aims to represent in music specific images summoned by the text of a vocal work. Text painting provides a point of departure for the exploration of how cross-domain mapping is manifested in our understanding of music, as it leads to an extension of cross-domain mapping called conceptual blending. In a conceptual blend, elements from two correlated domains are projected into a third, giving rise to a rich set of possibilities for the imagination. It is shown that text painting can lead to such blends, as can program music.
Glenn W. Most
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199794959
- eISBN:
- 9780199949694
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199794959.003.0009
- Subject:
- Classical Studies, Ancient Greek, Roman, and Early Christian Philosophy, European History: BCE to 500CE
In his contribution, “The Sublime, Today?” Glenn Most studies what he calls the “Lucretian sublime,” a concept he contrasts with the more familiar ancient notion of the “Longinian sublime.” As Most ...
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In his contribution, “The Sublime, Today?” Glenn Most studies what he calls the “Lucretian sublime,” a concept he contrasts with the more familiar ancient notion of the “Longinian sublime.” As Most demonstrates, whereas the Longinian sublime depends upon a theistic perspective, the Lucretian sublime is rooted precisely in a rejection of that perspective. He then tests and works out this notion of the Lucretian sublime against a series of striking twentieth-century visual examples, especially drawn from the work of Mark Rothko. The positing and development of the Lucretian sublime allow us to understand the persistent presence of the sublime in modern art (as well as in critical discourse about that art) that itself rejects a theistic worldview.Less
In his contribution, “The Sublime, Today?” Glenn Most studies what he calls the “Lucretian sublime,” a concept he contrasts with the more familiar ancient notion of the “Longinian sublime.” As Most demonstrates, whereas the Longinian sublime depends upon a theistic perspective, the Lucretian sublime is rooted precisely in a rejection of that perspective. He then tests and works out this notion of the Lucretian sublime against a series of striking twentieth-century visual examples, especially drawn from the work of Mark Rothko. The positing and development of the Lucretian sublime allow us to understand the persistent presence of the sublime in modern art (as well as in critical discourse about that art) that itself rejects a theistic worldview.
Christopher Prendergast
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691155203
- eISBN:
- 9781400846313
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691155203.003.0006
- Subject:
- Literature, Criticism/Theory
This chapter examines Marcel Proust's use of the term “metaphor” in À la recherche du temps perdu, focusing in particular on a paragraph in which the image of heights is transferred to the aged Duc ...
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This chapter examines Marcel Proust's use of the term “metaphor” in À la recherche du temps perdu, focusing in particular on a paragraph in which the image of heights is transferred to the aged Duc de Guermantes, figured as walking on living stilts from which one must inevitably fall. The metaphor of stilts is a clownish transformation of the metaphor of altitude, but the comedy has perhaps more than just thematic value, in the implied contrast between youth and age. The chapter also considers Proust's explicit comparison of Elstir's painting to poetic metaphor that is suggestive of an unstated similarity to—or tacit mise en abyme of—his own writing. The analogical track, the chapter asserts, is a self-confirming circle in which poetic metaphor furnishes an analogue for Elstir's painterly art, while the latter in turn stands as an analogue of Proust's literary art.Less
This chapter examines Marcel Proust's use of the term “metaphor” in À la recherche du temps perdu, focusing in particular on a paragraph in which the image of heights is transferred to the aged Duc de Guermantes, figured as walking on living stilts from which one must inevitably fall. The metaphor of stilts is a clownish transformation of the metaphor of altitude, but the comedy has perhaps more than just thematic value, in the implied contrast between youth and age. The chapter also considers Proust's explicit comparison of Elstir's painting to poetic metaphor that is suggestive of an unstated similarity to—or tacit mise en abyme of—his own writing. The analogical track, the chapter asserts, is a self-confirming circle in which poetic metaphor furnishes an analogue for Elstir's painterly art, while the latter in turn stands as an analogue of Proust's literary art.
Helen Jacobsen
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199693757
- eISBN:
- 9780191731976
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693757.003.0004
- Subject:
- History, British and Irish Early Modern History, Cultural History
Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the ...
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Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the rules of taste of the Augustan Age. This chapter shows by contrast that English diplomats were in the forefront of taste and collecting, and not only displayed the same level of connoisseurship as their predecessors, but were also instrumental in bringing new styles and genres of painting – Dutch and Netherlandish still lifes, genre paintings, interiors and landscapes, and French decorative wall and ceiling paintings being the most obvious examples – and artists themselves to England. Diplomatic patronage also illustrates the comparatively broad socio-economic penetration of art collecting by 1700. Paintings were collected in the seventeenth century for their novelty, for their decorative qualities, for the distinction they conferred, and for reasons of political patronage, as well as for the appreciation of artistic talent.Less
Collecting and connoisseurship in the second half of the seventeenth century has often suffered a bad press, sandwiched as it is between the art collecting passions of the Caroline court and the rules of taste of the Augustan Age. This chapter shows by contrast that English diplomats were in the forefront of taste and collecting, and not only displayed the same level of connoisseurship as their predecessors, but were also instrumental in bringing new styles and genres of painting – Dutch and Netherlandish still lifes, genre paintings, interiors and landscapes, and French decorative wall and ceiling paintings being the most obvious examples – and artists themselves to England. Diplomatic patronage also illustrates the comparatively broad socio-economic penetration of art collecting by 1700. Paintings were collected in the seventeenth century for their novelty, for their decorative qualities, for the distinction they conferred, and for reasons of political patronage, as well as for the appreciation of artistic talent.
Gordon Graham
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199265961
- eISBN:
- 9780191708756
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199265961.003.0003
- Subject:
- Philosophy, Aesthetics
This chapter traces the rise of the ‘science of religion’ and traces its impact on painting and the visual arts. It focuses on the surrealist movement and argues that its attempt to depict a ...
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This chapter traces the rise of the ‘science of religion’ and traces its impact on painting and the visual arts. It focuses on the surrealist movement and argues that its attempt to depict a mysteriously irrational reality fails.Less
This chapter traces the rise of the ‘science of religion’ and traces its impact on painting and the visual arts. It focuses on the surrealist movement and argues that its attempt to depict a mysteriously irrational reality fails.
STEPHEN BANN
- Published in print:
- 2011
- Published Online:
- January 2013
- ISBN:
- 9780197264942
- eISBN:
- 9780191754111
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264942.003.0010
- Subject:
- History, British and Irish Modern History
This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving ...
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This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving Tudors and Stuarts: Paul Delaroche. It argues that the pronounced nineteenth-century French interest in sixteenth- and seventeenth-century English history was a form of displacement, so that Delaroche's painting of the execution of Lady Jane Grey (1834), for example, opened up for the French viewer a space in which to negotiate memories of the Terror within the relative comfort of a more distant and foreign historical moment.Less
This chapter singles out two features of the cult of British historical themes in French Romantic painting, and focuses on the most prominent of the artists who cultivated such scenes involving Tudors and Stuarts: Paul Delaroche. It argues that the pronounced nineteenth-century French interest in sixteenth- and seventeenth-century English history was a form of displacement, so that Delaroche's painting of the execution of Lady Jane Grey (1834), for example, opened up for the French viewer a space in which to negotiate memories of the Terror within the relative comfort of a more distant and foreign historical moment.
Luca Giuliani
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226297651
- eISBN:
- 9780226025902
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226025902.001.0001
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? This book tells the stories behind the pictures, ...
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On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? This book tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, the book describes the intellectual, social, and artistic contexts in which the images were created. It reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, this book builds a new way of understanding the visual culture of ancient Greece.Less
On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? This book tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, the book describes the intellectual, social, and artistic contexts in which the images were created. It reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, this book builds a new way of understanding the visual culture of ancient Greece.
Paul Crowther
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579976
- eISBN:
- 9780191722615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579976.003.0007
- Subject:
- Philosophy, Aesthetics, History of Philosophy
This chapter develops the potential of Kant's theory of fine art by offering an exposition and sustained critical account of the key notions of aesthetic ideas, genius, and originality. In ...
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This chapter develops the potential of Kant's theory of fine art by offering an exposition and sustained critical account of the key notions of aesthetic ideas, genius, and originality. In particular, it is argued that Kant's linkage of these terms requires a notion that he does not do justice to — namely, that of artistic style. Emphasis is given also to the need to ground originality and (the related notion of) exemplariness in a comparative dimension based on comparative relations between artworks, rather than the psychological process that Kant emphasizes. The relation between such a comparative dimension and artistic style is explored at length, in relation to the specific case of painting. The account is shown to be able to accommodate, also, significant varieties of more avant-garde artworks.Less
This chapter develops the potential of Kant's theory of fine art by offering an exposition and sustained critical account of the key notions of aesthetic ideas, genius, and originality. In particular, it is argued that Kant's linkage of these terms requires a notion that he does not do justice to — namely, that of artistic style. Emphasis is given also to the need to ground originality and (the related notion of) exemplariness in a comparative dimension based on comparative relations between artworks, rather than the psychological process that Kant emphasizes. The relation between such a comparative dimension and artistic style is explored at length, in relation to the specific case of painting. The account is shown to be able to accommodate, also, significant varieties of more avant-garde artworks.
Michel E. Fuchs
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199582570
- eISBN:
- 9780191595271
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582570.003.0005
- Subject:
- Classical Studies, European History: BCE to 500CE
The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they ...
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The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they are present in these external scenes must still be questioned. Some of them may be participating in religious initiatory ceremonies or in a cult dedicated to the dead.Less
The study of the scenes known as sacro-idyllic in Roman wall-painting allows us to identify the number of women and children present in them. But the kind of activities they are pursuing and why they are present in these external scenes must still be questioned. Some of them may be participating in religious initiatory ceremonies or in a cult dedicated to the dead.
Leon Botstein
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691182711
- eISBN:
- 9780691185514
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691182711.003.0010
- Subject:
- Music, Opera
This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels ...
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This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels between the development of Russian music and Russian painting. Lyricism and poetic beauty defined great music for Rimsky-Korsakov. Music—and all art—was, in the end, about beauty. By the mid-1890s, beauty as Rimsky-Korsakov understood it seemed out of fashion. He hoped that future generations would rediscover classicist aesthetics, but he feared the historic inevitability of a progressive “degeneration” in the arts. Nevertheless, his project was to strengthen the role of music in Russia and assert its value as art. This required finding the right accommodation with the Russian state and the monarchy. Ultimately, it led Rimsky on a career that paralleled and intersected with developments in Russian painting and with the work of Russia's leading visual artists.Less
This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels between the development of Russian music and Russian painting. Lyricism and poetic beauty defined great music for Rimsky-Korsakov. Music—and all art—was, in the end, about beauty. By the mid-1890s, beauty as Rimsky-Korsakov understood it seemed out of fashion. He hoped that future generations would rediscover classicist aesthetics, but he feared the historic inevitability of a progressive “degeneration” in the arts. Nevertheless, his project was to strengthen the role of music in Russia and assert its value as art. This required finding the right accommodation with the Russian state and the monarchy. Ultimately, it led Rimsky on a career that paralleled and intersected with developments in Russian painting and with the work of Russia's leading visual artists.
John Boardman
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262788
- eISBN:
- 9780191754210
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262788.003.0009
- Subject:
- History, Historiography
Robert Cook was Laurence Reader then Professor in Classical Archaeology at Cambridge University. His Greek Painted Pottery, first published in 1960, was a standard student text and his Greek Art ...
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Robert Cook was Laurence Reader then Professor in Classical Archaeology at Cambridge University. His Greek Painted Pottery, first published in 1960, was a standard student text and his Greek Art (1972) was aimed at a general readership. Cook wrote widely on Ancient Greek archaeology and was elected Fellow of the British Academy in 1974. Obituary by John Boardman FBA.Less
Robert Cook was Laurence Reader then Professor in Classical Archaeology at Cambridge University. His Greek Painted Pottery, first published in 1960, was a standard student text and his Greek Art (1972) was aimed at a general readership. Cook wrote widely on Ancient Greek archaeology and was elected Fellow of the British Academy in 1974. Obituary by John Boardman FBA.
Nicholas Tromans
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780748625208
- eISBN:
- 9780748651313
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625208.001.0001
- Subject:
- Society and Culture, Cultural Studies
This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so ...
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This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so beloved by his contemporaries, engaged with a range of cultural predicaments close to their hearts. In a series of thematic chapters, whose concerns range far beyond the details of Wilkie's own career, the book shows how, through Wilkie's thrillingly original work, British society was able to reimagine its own everyday life, its history, and its multinational (Anglo-Scottish) nature. Other themes covered include Wilkie's roles in defining the border between painting and anatomy in the representation of the human body, and in transforming the pleasures of connoisseurship from an elite to a popular audience.Less
This book is about the artist David Wilkie (1785–1841), the first British painter to become an international celebrity. Based on original research, it explores the ways in which Wilkie's images, so beloved by his contemporaries, engaged with a range of cultural predicaments close to their hearts. In a series of thematic chapters, whose concerns range far beyond the details of Wilkie's own career, the book shows how, through Wilkie's thrillingly original work, British society was able to reimagine its own everyday life, its history, and its multinational (Anglo-Scottish) nature. Other themes covered include Wilkie's roles in defining the border between painting and anatomy in the representation of the human body, and in transforming the pleasures of connoisseurship from an elite to a popular audience.
Joseph Almog
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195337716
- eISBN:
- 9780199868704
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337716.003.0002
- Subject:
- Philosophy, General
This chapter explores one kind of thinking fact — thinking about the sun. It presents three of Descartes' principles of thinking about the sun: (i) the inadequacy of predicative contents; (ii) one ...
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This chapter explores one kind of thinking fact — thinking about the sun. It presents three of Descartes' principles of thinking about the sun: (i) the inadequacy of predicative contents; (ii) one object, two modes of being; and (iii) to be conceived it must be caused.Less
This chapter explores one kind of thinking fact — thinking about the sun. It presents three of Descartes' principles of thinking about the sun: (i) the inadequacy of predicative contents; (ii) one object, two modes of being; and (iii) to be conceived it must be caused.
James J. Sheehan
- Published in print:
- 2006
- Published Online:
- January 2012
- ISBN:
- 9780197263822
- eISBN:
- 9780191734960
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263822.003.0002
- Subject:
- History, Cultural History
This chapter begins by sketching the principal ingredients of what Paul Kristeller called ‘the modern system of the arts’: the concept of art itself; art as created by an artist; and art as public. ...
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This chapter begins by sketching the principal ingredients of what Paul Kristeller called ‘the modern system of the arts’: the concept of art itself; art as created by an artist; and art as public. It then examines the condition of the visual arts at the beginning of the nineteenth century, that is, in the middle of the great revolutionary era that began in 1789. In talking about the arts, a Tocquevillian sense of continuity between old regime and revolution is wholly appropriate. The revolution changed the modern art world in several important ways. Three of these changes are discussed. The first has to do with the social setting of art and artists, and especially with artists' changing relationship to patrons and the public. The second concerns the geographical location of art, particularly the shift in the visual arts' centre of gravity away from Italy to Paris, which would remain the artistic capital of Europe for the next century. The third theme is about the complex relationship of national values and national themes to European art, especially painting.Less
This chapter begins by sketching the principal ingredients of what Paul Kristeller called ‘the modern system of the arts’: the concept of art itself; art as created by an artist; and art as public. It then examines the condition of the visual arts at the beginning of the nineteenth century, that is, in the middle of the great revolutionary era that began in 1789. In talking about the arts, a Tocquevillian sense of continuity between old regime and revolution is wholly appropriate. The revolution changed the modern art world in several important ways. Three of these changes are discussed. The first has to do with the social setting of art and artists, and especially with artists' changing relationship to patrons and the public. The second concerns the geographical location of art, particularly the shift in the visual arts' centre of gravity away from Italy to Paris, which would remain the artistic capital of Europe for the next century. The third theme is about the complex relationship of national values and national themes to European art, especially painting.
Alexandra Green
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9789888390885
- eISBN:
- 9789882204850
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390885.001.0001
- Subject:
- Art, Art History
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, ...
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This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.Less
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.
John Elderfield
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197263129
- eISBN:
- 9780191734861
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263129.003.0004
- Subject:
- History, Cultural History
This chapter presents the text of a lecture on the role of visual medium in art-historical study. It addresses the relationship of art history to the existential acts of painting and looking at ...
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This chapter presents the text of a lecture on the role of visual medium in art-historical study. It addresses the relationship of art history to the existential acts of painting and looking at painting and describes how the so-called story of modern art has been narrated in the history literature. It also considers how modern histories can accommodate the unfamiliar that is normally part of the story.Less
This chapter presents the text of a lecture on the role of visual medium in art-historical study. It addresses the relationship of art history to the existential acts of painting and looking at painting and describes how the so-called story of modern art has been narrated in the history literature. It also considers how modern histories can accommodate the unfamiliar that is normally part of the story.
David Brown
- Published in print:
- 2004
- Published Online:
- July 2005
- ISBN:
- 9780199271986
- eISBN:
- 9780191602801
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199271984.003.0003
- Subject:
- Religion, Theology
One major tension in understanding how God is experienced through the material, is whether it is seen as a matter of God drawing us into another reality (transcendence) or himself invading ours ...
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One major tension in understanding how God is experienced through the material, is whether it is seen as a matter of God drawing us into another reality (transcendence) or himself invading ours (immanence). Because Renaissance immanence is now so commonly attacked as most superficially religious, an extended defence is offered. By contrast, the transcendence of icons is often accepted uncritically in the West, and so here an extended critique is given. In addition the influence of Platonism on both Orthodoxy and the Renaissance is explored in some detail, to illustrate how the same system can pull in quite different directions. The conclusion is that, where only one aspect is asserted, there tend to be compensatory pulls elsewhere (e.g. through accompanying architecture or ritual).Less
One major tension in understanding how God is experienced through the material, is whether it is seen as a matter of God drawing us into another reality (transcendence) or himself invading ours (immanence). Because Renaissance immanence is now so commonly attacked as most superficially religious, an extended defence is offered. By contrast, the transcendence of icons is often accepted uncritically in the West, and so here an extended critique is given. In addition the influence of Platonism on both Orthodoxy and the Renaissance is explored in some detail, to illustrate how the same system can pull in quite different directions. The conclusion is that, where only one aspect is asserted, there tend to be compensatory pulls elsewhere (e.g. through accompanying architecture or ritual).
