CHRISTOPH UEHLINGER
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264010
- eISBN:
- 9780191734946
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264010.003.0011
- Subject:
- Religion, Biblical Studies
This chapter explores the potential use of visual sources, together with the methods employed for studying them, such as iconography or iconology, for the history of ‘ancient Israel’. It describes ...
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This chapter explores the potential use of visual sources, together with the methods employed for studying them, such as iconography or iconology, for the history of ‘ancient Israel’. It describes the theoretical and conceptual framework, particularly the notion of ‘eyewitnessing’, and considers the method, particularly iconography. The chapter also presents case examples chosen from monuments which are so well known to historians of ancient Israel that they are well suited to illustrate both the pitfalls of more conventional interpretations and the potential of alternative approaches. Before turning to the sources – namely visual evidence that may be related to the history of ancient Israel and Judah – the chapter discusses the state of the art among fellow historians in neighbouring disciplines, including those belonging to the so-called ‘humanities’ (or arts and letters). It also considers visual art and history, the metaphor of legal investigation, the balancing of testimony, and the particular status of an eyewitness.Less
This chapter explores the potential use of visual sources, together with the methods employed for studying them, such as iconography or iconology, for the history of ‘ancient Israel’. It describes the theoretical and conceptual framework, particularly the notion of ‘eyewitnessing’, and considers the method, particularly iconography. The chapter also presents case examples chosen from monuments which are so well known to historians of ancient Israel that they are well suited to illustrate both the pitfalls of more conventional interpretations and the potential of alternative approaches. Before turning to the sources – namely visual evidence that may be related to the history of ancient Israel and Judah – the chapter discusses the state of the art among fellow historians in neighbouring disciplines, including those belonging to the so-called ‘humanities’ (or arts and letters). It also considers visual art and history, the metaphor of legal investigation, the balancing of testimony, and the particular status of an eyewitness.
Jerrold Levinson
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199206179
- eISBN:
- 9780191709982
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199206179.003.0015
- Subject:
- Philosophy, Aesthetics
This essay argues that erotic art is art which aims to engage viewers sexually through explicit sexual content, and succeeds to some extent in doing so. The boundaries of the concept of erotic art, ...
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This essay argues that erotic art is art which aims to engage viewers sexually through explicit sexual content, and succeeds to some extent in doing so. The boundaries of the concept of erotic art, and some of the psychological and social implications of erotic art are also explored. The scope of this essay is restricted in two ways. First, the essay concerns visual art exclusively, and then, almost entirely, visual art of two dimensions. Second, the examples are drawn only from Western art, and mainly Western art since the Renaissance.Less
This essay argues that erotic art is art which aims to engage viewers sexually through explicit sexual content, and succeeds to some extent in doing so. The boundaries of the concept of erotic art, and some of the psychological and social implications of erotic art are also explored. The scope of this essay is restricted in two ways. First, the essay concerns visual art exclusively, and then, almost entirely, visual art of two dimensions. Second, the examples are drawn only from Western art, and mainly Western art since the Renaissance.
David Brown
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199231836
- eISBN:
- 9780191716201
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199231836.003.0005
- Subject:
- Religion, Theology
This chapter suggests that the preacher's words have the capacity to act just as sacramentally as any image: to draw the listener into an experience of the God who is always present and ready to ...
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This chapter suggests that the preacher's words have the capacity to act just as sacramentally as any image: to draw the listener into an experience of the God who is always present and ready to address us, whenever opportunity presents itself. It examines the positive sacramental side of preaching, then offers a comparison with the earlier, largely but by no means exclusively monastic tradition of illuminated books. Finally, it provides some assessment of the relative likelihood of either verbal or visual degenerating into idolatry.Less
This chapter suggests that the preacher's words have the capacity to act just as sacramentally as any image: to draw the listener into an experience of the God who is always present and ready to address us, whenever opportunity presents itself. It examines the positive sacramental side of preaching, then offers a comparison with the earlier, largely but by no means exclusively monastic tradition of illuminated books. Finally, it provides some assessment of the relative likelihood of either verbal or visual degenerating into idolatry.
Karin Schlapbach
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199232536
- eISBN:
- 9780191716003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232536.003.0015
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter examines Lucian's On Dancing, one of the few surviving examples of a discourse offering a sustained treatment of pantomime dancing. The chapter aims to show that the use of rhetorical ...
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This chapter examines Lucian's On Dancing, one of the few surviving examples of a discourse offering a sustained treatment of pantomime dancing. The chapter aims to show that the use of rhetorical categories in descriptions of pantomime suggests a relationship of fundamental affinity between rhetoric and pantomime, rather than a straightforward opposition or hierarchy. The discussion looks at the terms used in the dialogue to describe the visual impact of the pantomime on the audience. Next special attention is given to the use of the categories of mimēsis, demonstration, and signification and their meaning in the intellectual discourse of the Second Sophistic. In discussion of mimēsis takes Proteus as an illustrative example. The final section looks at the relationship between pantomime, rhetoric, and the visual arts. Overall the chapter sheds a critical light on the view that the argument of the dialogue can be explained against the backdrop of a general preference for literary culture over visuality; instead the issue is shown to be rather more complex.Less
This chapter examines Lucian's On Dancing, one of the few surviving examples of a discourse offering a sustained treatment of pantomime dancing. The chapter aims to show that the use of rhetorical categories in descriptions of pantomime suggests a relationship of fundamental affinity between rhetoric and pantomime, rather than a straightforward opposition or hierarchy. The discussion looks at the terms used in the dialogue to describe the visual impact of the pantomime on the audience. Next special attention is given to the use of the categories of mimēsis, demonstration, and signification and their meaning in the intellectual discourse of the Second Sophistic. In discussion of mimēsis takes Proteus as an illustrative example. The final section looks at the relationship between pantomime, rhetoric, and the visual arts. Overall the chapter sheds a critical light on the view that the argument of the dialogue can be explained against the backdrop of a general preference for literary culture over visuality; instead the issue is shown to be rather more complex.
David Wengrow
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691159041
- eISBN:
- 9781400848867
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691159041.003.0003
- Subject:
- Archaeology, Historical Archaeology
This chapter examines composite animals as counterfactual images by focusing on a school of evolutionary psychology called the “epidemiology of culture.” Experimental studies show that the cognitive ...
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This chapter examines composite animals as counterfactual images by focusing on a school of evolutionary psychology called the “epidemiology of culture.” Experimental studies show that the cognitive processing of animal forms is highly sensitized to part-whole relations, such that a total presence may be inferred from quite limited visual cues. Pictures of animals—even when jumbled, distorted, or incomplete—may therefore activate neural pathways attuned to the recognition and differentiation of living kinds. Such observations make it possible to build bridges between the cognition of images and theories of cultural transmission. The chapter introduces a number of comparative observations on the status of composites in the visual arts of hunter-gatherers.Less
This chapter examines composite animals as counterfactual images by focusing on a school of evolutionary psychology called the “epidemiology of culture.” Experimental studies show that the cognitive processing of animal forms is highly sensitized to part-whole relations, such that a total presence may be inferred from quite limited visual cues. Pictures of animals—even when jumbled, distorted, or incomplete—may therefore activate neural pathways attuned to the recognition and differentiation of living kinds. Such observations make it possible to build bridges between the cognition of images and theories of cultural transmission. The chapter introduces a number of comparative observations on the status of composites in the visual arts of hunter-gatherers.
Paul J. Locher
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199732142
- eISBN:
- 9780199918485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732142.003.0040
- Subject:
- Psychology, Cognitive Psychology
The purpose of this chapter is to provide an overview of the contribution that recent experimental research has made to the understanding of a beholder’s aesthetic experience with visual art. The ...
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The purpose of this chapter is to provide an overview of the contribution that recent experimental research has made to the understanding of a beholder’s aesthetic experience with visual art. The findings presented demonstrate that this experience is driven by a complex interaction among characteristics of an art work (e.g., a painting’s pictorial features, structural organization, artistic style, thematic content, and presentation format) and those of a viewer (e.g., his or her personality, personal history, cognitive abilities, knowledge about art). The influences of the physical (e.g., museum setting) and social contexts (e.g., viewing art alone or with friends) on the experience are also described. A secondary purpose of the review is to acquaint the reader with the variety of methodological procedures and techniques (e.g., eye-fixation recording techniques, psychophysiological approaches, techniques used to manipulate the structural organization of a painting) used to acquire this information. Findings are examined within the frameworks of theoretical models and concepts that explain the processes underlying a viewer’s perceptual/cognitive reactions to and aesthetic evaluation of art which occur from the initial glance at a work across the time course of an aesthetic experience with it.Less
The purpose of this chapter is to provide an overview of the contribution that recent experimental research has made to the understanding of a beholder’s aesthetic experience with visual art. The findings presented demonstrate that this experience is driven by a complex interaction among characteristics of an art work (e.g., a painting’s pictorial features, structural organization, artistic style, thematic content, and presentation format) and those of a viewer (e.g., his or her personality, personal history, cognitive abilities, knowledge about art). The influences of the physical (e.g., museum setting) and social contexts (e.g., viewing art alone or with friends) on the experience are also described. A secondary purpose of the review is to acquaint the reader with the variety of methodological procedures and techniques (e.g., eye-fixation recording techniques, psychophysiological approaches, techniques used to manipulate the structural organization of a painting) used to acquire this information. Findings are examined within the frameworks of theoretical models and concepts that explain the processes underlying a viewer’s perceptual/cognitive reactions to and aesthetic evaluation of art which occur from the initial glance at a work across the time course of an aesthetic experience with it.
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.
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.
Noël Carroll, Margaret Moore, and William P. Seeley
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199732142
- eISBN:
- 9780199918485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732142.003.0019
- Subject:
- Psychology, Cognitive Psychology
There is growing interest in the relationship between research in cognitive science and our understanding of art and aesthetics. Cognitive science, in its broadest sense, is the study of how ...
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There is growing interest in the relationship between research in cognitive science and our understanding of art and aesthetics. Cognitive science, in its broadest sense, is the study of how organisms acquire, transform, and use information in the production of behavior. Artworks are artifacts designed to direct attention to the features responsible for their artistically salient aesthetic and semantic effects. In this regard, questions about the nature of our understanding and appreciation of art are questions that ultimately depend on an understanding of our psychological interactions with particular artworks. Therefore, research in psychology and neuroscience has bearing on a variety of topics relevant to the philosophy of art and aesthetics. We review examples from literature, music, and the visual arts that illustrate the potential of this interdisciplinary collaboration and provide counterarguments to philosophical skepticism about the relevance of psychology and neuroscience to the philosophy of art and aesthetics. These discussions point towards a rich and productive rapprochement between philosophy and cognitive science that can trace its roots to the 18th Century origins of contemporary aesthetics.Less
There is growing interest in the relationship between research in cognitive science and our understanding of art and aesthetics. Cognitive science, in its broadest sense, is the study of how organisms acquire, transform, and use information in the production of behavior. Artworks are artifacts designed to direct attention to the features responsible for their artistically salient aesthetic and semantic effects. In this regard, questions about the nature of our understanding and appreciation of art are questions that ultimately depend on an understanding of our psychological interactions with particular artworks. Therefore, research in psychology and neuroscience has bearing on a variety of topics relevant to the philosophy of art and aesthetics. We review examples from literature, music, and the visual arts that illustrate the potential of this interdisciplinary collaboration and provide counterarguments to philosophical skepticism about the relevance of psychology and neuroscience to the philosophy of art and aesthetics. These discussions point towards a rich and productive rapprochement between philosophy and cognitive science that can trace its roots to the 18th Century origins of contemporary aesthetics.
Jeffrey Morrison
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198159124
- eISBN:
- 9780191673504
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159124.003.0005
- Subject:
- Literature, 18th-century Literature
While many accepted Winckelmann's theories of art production and many of his characteristic critical epithets, Johann Wolfgang Von Goethe remained obsessed with visual arts, which is central to ...
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While many accepted Winckelmann's theories of art production and many of his characteristic critical epithets, Johann Wolfgang Von Goethe remained obsessed with visual arts, which is central to Winckelmann's aesthetic. This chapter focuses on the essential contribution of Goethe to the business of aesthetic reception. It examines Goethe's scholarly approach and responses to art and compares his reception to art with that observed in Winckelmann.Less
While many accepted Winckelmann's theories of art production and many of his characteristic critical epithets, Johann Wolfgang Von Goethe remained obsessed with visual arts, which is central to Winckelmann's aesthetic. This chapter focuses on the essential contribution of Goethe to the business of aesthetic reception. It examines Goethe's scholarly approach and responses to art and compares his reception to art with that observed in Winckelmann.
Michael Podro
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263020
- eISBN:
- 9780191734199
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263020.003.0009
- Subject:
- History, Historiography
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated ...
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Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.Less
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.
CYRIL BARRETT
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780199583744
- eISBN:
- 9780191702365
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583744.003.0015
- Subject:
- History, British and Irish Modern History
This chapter examines the history of visual arts and society in Ireland during the period from 1850 to 1900. It explains that, in the second half of the nineteenth century, significant changes took ...
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This chapter examines the history of visual arts and society in Ireland during the period from 1850 to 1900. It explains that, in the second half of the nineteenth century, significant changes took place in the fortunes of the visual arts in Ireland. The patronage of the arts dwindled, and even the applied arts, for which the country had been renowned in the eighteenth century, ceased to flourish. In addition, many landed aristocracy chose to migrate, taking their fortunes with them, and some of the best Irish artists decided to work in England.Less
This chapter examines the history of visual arts and society in Ireland during the period from 1850 to 1900. It explains that, in the second half of the nineteenth century, significant changes took place in the fortunes of the visual arts in Ireland. The patronage of the arts dwindled, and even the applied arts, for which the country had been renowned in the eighteenth century, ceased to flourish. In addition, many landed aristocracy chose to migrate, taking their fortunes with them, and some of the best Irish artists decided to work in England.
Susanna Bede Caroselli
- Published in print:
- 2004
- Published Online:
- July 2005
- ISBN:
- 9780195170382
- eISBN:
- 9780199835669
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195170385.003.0009
- Subject:
- Religion, Religion and Society
The disciplinary focus of Caroselli’s essay is the visual arts and art history. She examines how two styles of scholarship, the “considered response” and the “instinctive response,” come into play in ...
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The disciplinary focus of Caroselli’s essay is the visual arts and art history. She examines how two styles of scholarship, the “considered response” and the “instinctive response,” come into play in her own work. The essay focuses especially on the Italian Renaissance painting Christ on the Cross with Saints Vincent Ferrer, John the Baptist, Mark, and Antoninus.Less
The disciplinary focus of Caroselli’s essay is the visual arts and art history. She examines how two styles of scholarship, the “considered response” and the “instinctive response,” come into play in her own work. The essay focuses especially on the Italian Renaissance painting Christ on the Cross with Saints Vincent Ferrer, John the Baptist, Mark, and Antoninus.
CYRIL BARRETT and JEANNE SHEEHY
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780199583744
- eISBN:
- 9780191702365
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583744.003.0016
- Subject:
- History, British and Irish Modern History
This chapter examines the developments in visual arts and society in Ireland during the period from 1900 to 1921. This period saw a simultaneous increase and falling off of interest in the visual ...
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This chapter examines the developments in visual arts and society in Ireland during the period from 1900 to 1921. This period saw a simultaneous increase and falling off of interest in the visual arts. The three key developments during this period include Hugh Lane's founding of a gallery of modern art, the revival of Irish artistic crafts, and attempts to reform art schools including the R.H.A. and the Metropolitan School of Art.Less
This chapter examines the developments in visual arts and society in Ireland during the period from 1900 to 1921. This period saw a simultaneous increase and falling off of interest in the visual arts. The three key developments during this period include Hugh Lane's founding of a gallery of modern art, the revival of Irish artistic crafts, and attempts to reform art schools including the R.H.A. and the Metropolitan School of Art.
Mandakranta Bose
- Published in print:
- 2004
- Published Online:
- April 2005
- ISBN:
- 9780195168327
- eISBN:
- 9780199835362
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168321.003.0015
- Subject:
- Religion, Hinduism
This chapter examines the theme of the Rāmāyaṇa in the visual arts of South and Southeast Asia. The theme has captivated the minds and imagination of people across a vast geographical area extending ...
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This chapter examines the theme of the Rāmāyaṇa in the visual arts of South and Southeast Asia. The theme has captivated the minds and imagination of people across a vast geographical area extending from West Asia to Southeast Asia and East Asia. Above all, there is the phenomenon of the amazing tenacity of the oral traditions which has facilitated the survival and continuance of the traditions of the Rāmāyaṇa in contemporary Asia. Even when the theme seems to run dry, it never dies, for the oral tradition sustains it. The oral tradition has also supported, supplemented, and complemented the traditions of the written word and of art.Less
This chapter examines the theme of the Rāmāyaṇa in the visual arts of South and Southeast Asia. The theme has captivated the minds and imagination of people across a vast geographical area extending from West Asia to Southeast Asia and East Asia. Above all, there is the phenomenon of the amazing tenacity of the oral traditions which has facilitated the survival and continuance of the traditions of the Rāmāyaṇa in contemporary Asia. Even when the theme seems to run dry, it never dies, for the oral tradition sustains it. The oral tradition has also supported, supplemented, and complemented the traditions of the written word and of art.
Susanna Berger
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780691172279
- eISBN:
- 9781400885121
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691172279.001.0001
- Subject:
- Art, Art History
Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, this book shows that the making and study of ...
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Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, this book shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, the book examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history. Rather than merely illustrating already existing philosophical concepts, visual images generated new knowledge for both Aristotelian thinkers and anti-Aristotelians, such as Descartes and Hobbes. Printmaking and drawing played a decisive role in discoveries that led to a move away from the authority of Aristotle in the seventeenth century. This book interprets visual art from printed books, student lecture notebooks, alba amicorum (friendship albums), broadsides, and paintings, and examines the work of such artists as Pietro Testa, Léonard Gaultier, Abraham Bosse, Dürer, and Rembrandt. In particular, it focuses on the rise and decline of the ‘plural image’, a genre that was popular among early modern philosophers. Plural images brought multiple images together on the same page, often in order to visualize systems of logic, metaphysics, natural philosophy, or moral philosophy. The book reveals the essential connections between visual commentary and philosophical thought.Less
Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, this book shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, the book examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history. Rather than merely illustrating already existing philosophical concepts, visual images generated new knowledge for both Aristotelian thinkers and anti-Aristotelians, such as Descartes and Hobbes. Printmaking and drawing played a decisive role in discoveries that led to a move away from the authority of Aristotle in the seventeenth century. This book interprets visual art from printed books, student lecture notebooks, alba amicorum (friendship albums), broadsides, and paintings, and examines the work of such artists as Pietro Testa, Léonard Gaultier, Abraham Bosse, Dürer, and Rembrandt. In particular, it focuses on the rise and decline of the ‘plural image’, a genre that was popular among early modern philosophers. Plural images brought multiple images together on the same page, often in order to visualize systems of logic, metaphysics, natural philosophy, or moral philosophy. The book reveals the essential connections between visual commentary and philosophical thought.
Sozita Goudouna
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474421645
- eISBN:
- 9781474444927
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421645.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This section introduces a critical framework that discusses the interplay and interconnectedness of media and the dynamic tension between theatricality and the visual arts in the spectrum of ...
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This section introduces a critical framework that discusses the interplay and interconnectedness of media and the dynamic tension between theatricality and the visual arts in the spectrum of Beckett's Breath (1969). Argumentation builds upon the investigation of Fried's seminal theory “Art and Objecthood,” (1967) and Beckett's aesthetic theory in the “Three Dialogues with Georges Duthuit”(1949); both discourses are considered in relation to disciplinary or medial entanglements.Less
This section introduces a critical framework that discusses the interplay and interconnectedness of media and the dynamic tension between theatricality and the visual arts in the spectrum of Beckett's Breath (1969). Argumentation builds upon the investigation of Fried's seminal theory “Art and Objecthood,” (1967) and Beckett's aesthetic theory in the “Three Dialogues with Georges Duthuit”(1949); both discourses are considered in relation to disciplinary or medial entanglements.
Cyril Barrett
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780198217527
- eISBN:
- 9780191678240
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198217527.003.0020
- Subject:
- History, British and Irish Modern History
The effects of war of independence and the civil war had to be overcome before resources were available for the arts; there were more pressing needs. Then came the economic depression, the economic ...
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The effects of war of independence and the civil war had to be overcome before resources were available for the arts; there were more pressing needs. Then came the economic depression, the economic war, and the Second World War. Recent work, however, indicates that even in the decades immediately after independence there was more vitality and innovation, greater openness to international ideas and models, especially in architecture, than this picture suggests. The Fianna Fáil governments of the 1930s were equally anxious to promote a modern image for Ireland. The importance of promoting good design, because of its commercial potential, took some time to be recognised: it was little appreciated in the 1920s.Less
The effects of war of independence and the civil war had to be overcome before resources were available for the arts; there were more pressing needs. Then came the economic depression, the economic war, and the Second World War. Recent work, however, indicates that even in the decades immediately after independence there was more vitality and innovation, greater openness to international ideas and models, especially in architecture, than this picture suggests. The Fianna Fáil governments of the 1930s were equally anxious to promote a modern image for Ireland. The importance of promoting good design, because of its commercial potential, took some time to be recognised: it was little appreciated in the 1920s.
Jaś Elsner
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199297375
- eISBN:
- 9780191708978
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199297375.003.0011
- Subject:
- Classical Studies, World History: BCE to 500CE
This chapter explores the category of ‘late antique art’. It considers some of the changes in visual production — which fall basically in the 4th century — and examines how some of the characteristic ...
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This chapter explores the category of ‘late antique art’. It considers some of the changes in visual production — which fall basically in the 4th century — and examines how some of the characteristic elements of late antique art that emerged then were developed by the 6th century into a last spectacular synthesis, which was truly antique but nonetheless new by contrast with earlier production.Less
This chapter explores the category of ‘late antique art’. It considers some of the changes in visual production — which fall basically in the 4th century — and examines how some of the characteristic elements of late antique art that emerged then were developed by the 6th century into a last spectacular synthesis, which was truly antique but nonetheless new by contrast with earlier production.
Graham Lock and David Murray (eds)
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195340501
- eISBN:
- 9780199852215
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340501.001.0001
- Subject:
- Music, Popular
The widespread presence of jazz and blues in African American visual art has long been overlooked. This book makes the case for recognizing the music's importance, both as formal template and as ...
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The widespread presence of jazz and blues in African American visual art has long been overlooked. This book makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this collection explores the more allusive—and elusive—references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well as an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet, and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, this book reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.Less
The widespread presence of jazz and blues in African American visual art has long been overlooked. This book makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this collection explores the more allusive—and elusive—references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well as an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet, and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, this book reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.
