Red Spot In Throat And Mouth

pictorial space in question

The pictorial space in question.

A fundamental paradox of painting based on a desire to represent three-dimensional space on a two-dimensional support. Geometric perspective is an icon of modern space. Yet despite its technical resources, the organization retains architectural paint in two dimensions. The composition of a pictorial space can be approached both as a subject three-dimensional, and thus "naturalist" and a subject-dimensional "ideal". The artists create a structure where the geometry is organizing the surface table. The artificiality of a sham based on the complicity of the viewer and the mental structure of the table reflects this arrangement.

"The characteristic of painting for centuries, has always been to develop and constantly create new symbols of expression, expressive structures. But it is only when men accept when new sound or new symbols are issued by some of them, of mechanisms to project meaning that they reach a level of genuine existence. "(Fernande Saint Martin Spatial Structure pictorial , Editions HMH, Montreal, 1968, p. 13). Construction or composition of a painting based on the effects sought and symbols. In the cycle time sensory space, meaning that leads us to conceive of space in painting as a surface composition, both organized in two and three dimensions. Geometric perspective that seems to "open a window on the world" is structured on a two-dimensional geometric grid.

"The key to me is that we recognize the need to study works of painting as a system of signs and we do apply the rigorous methods of interpretation that have ensured the progress of so many other sciences. He does not see a topic in a table anecdotal, we must examine the individual and social mechanisms that made it readable and effective. A work of art is a means of expression and communication of feelings or thoughts. "(Pierre Francastel Painting and society, and Denoël Gonthier, Paris, 1977, p.10)

A painting is not an object like any other, it is only about construction scale, The space is used or be a means of expressive communication. The eye does not give a full spatial perception, there is no involvement of the body itself in the spaces depicted. The table can be seen as an active surface and projective. For its effectiveness the painter will therefore use the means of lines, shapes. The plan and consciously constructed is itself a subject of study. Questioning the pictorial space was simply to build its composition effects.

Wallpaper gold on wood works of the Italian primitives fold or flatten the space to present the holy FIGS. This lack of a cone perspective reflects a geometric organization. To balance the composition and the occupation of the surface of the work, the artists are based grids. In Naddo Ceccarelli, spatial information is minimal. A brown belt curvilinear motifs include a marble floor. Yet the artist unifies the two books of his diptych by decorative motifs incised directly into the gold background and by the looks and exchanges between each character creating lines and links. On the lower register, the Magi rightmost look at the angel that is on the other panel in the upper left. To the left panel, the Magi kneeling before the Madonna and Child, made diagonal. This line breaks with the dynamic stability of the other postures.

Developing a network of lines or opposing the accompanying framework allows artists to make dynamic structure and composition. These lines are a grid on which the artist has put its composition.

The physical setting of the work becomes the spatial reference frame. In Lorenzo Veneziano, angels musicians organized on the place left by the frame. This dialogue between available surface and internal organization, shows that the spatiality of the table is primarily a material fact and physics.

predella panels by Andrea Mantegna as we have previously noted large. Developments "Landscape" show a real willingness to open the window. Yet if we analyze the "lines of force" that is to say the organization on a geometric grid of the main lines figured, Italian artist retains its dynamic effects. The dead tree under Christ praying in the Garden, it happens to be the top of a pyramid or a triangle the base is formed by the apostles. This composition allows Mantegna effect of elevation. Consequence of a desire in mind, it is a dynamic and rewarding with a two-dimensional geometry processing, the introduction of plastic and painting of Christ. This triangulation is found in the resurrection. Geometric perspective despite the third dimension it pretends, is a triangular structure. Christ finds himself once again the top, the triangle is reorganizing the rectangular panel.

These dynamic effects are used to organize the pictorial field as an active surface. These guide lines the look in his movement. These principles of ornaments (more for decoration, beautification of an artistic composition) are not incidental but necessary to make the work expressive and sensitive. The proliferation of details in the composition serves to structure the pictorial space.

Gothic architecture in which sits the Virgin and Child with the altarpiece St. John and St. Madeleine plays perfectly the role of geometric ornament and active. She individualizes and singles out the most important characters while adding details beautifying composition. The Flemish painters play these geometrical ornaments and even artistic. In the small panel of the Mass of St. Gregory, the abyss into a picture in picture allows me to question the pictorial space. Christ standing on the altar next to his face placed on the shroud himself before an altar on gold. What is the origin details and ornaments, and further suggests the incarnation of Christ standing.

Geometry as medium composition supports the principles of surface composition, that is to say surface necessary for the organization plastic table. The work is organized as a network of dynamic lines.

In the seventeenth century, the diagonal and the triangle will end up in an ornamental character, along the curve. The desire of pleasure claimed in composition, from the Baroque period, this complex surface structure, continuing to guide and extend the time to look at the surface of the work.

The compositions of the two tables of povidone, has an organization where the plastic eye with the dynamic lines of the table is inexorably reduced to the scenes of martyrs. The architecture and groups of characters form a network that leads the eye to rise, has swept across the surface to better return to the main stage. These two works are mannerist ornamentation without dissolving the principle of concentration. Despite a composition that seems much more diffuse, the Italian artist plays with the format of his work for the next running but not lost. The artists are realizing that the painting is seen primarily in its entirety, but that the composition can highlight the scene should concentrate on. By breaks, as the curve relative to the rectangular format of the painting, the artists the gaze of a more gentle but still run. Curve softens the composition but will retain a didactic. The arabesque patterns become the means to drive smoothly the viewer on the subject.

The geometric structures are ornamented or embellished details. The French painter Francois Boucher uses effects that could be called decorative. In revealing his divinity Apollo for tat Isse, the geometric composition offers triangular structures. The first having as basis the top of the table, point downwards. The second is a triangle composed of the shepherd and Apollo, point upwards. This structure is based on the diagonals is run by angels or even the clothes of the two main characters. Curves and cons-curves accompanying the primary structure.

In the work Sylvie fleeing wounded wolf , Boucher uses for other effects. Sylvie clothing wrapped around her body, or vice versa, and serve as drivers to look that son and smooth strokes across the body of the nymph. We could multiply examples of these constructions in which a geometric structure is elongated or ornamented with this phenomenon.

To better respond to this desire to look, the artists developed a vocabulary of a resting surface effect and not an effect of depth. This structure of pictorial space is accompanied by color effects ornamental colors playing the developer and the beautification of the work.

At the primary geometry about organizing a narrative, from the seventeenth century artists will link a principle chromatic playing on the sensory aspects. Color as the line are the fundamentals of pictorial composition. Awareness the subject is compound means that the pictorial space is not driven by the subject, but conversely that the subject is driven by the will of composition. The pictorial surface is therefore by no means only a sham. Empathy, pleasure or even pleasure are fundamental to the expressive quality of the picture. Artists must bind the precision of a naturalistic representation and construction ideal for generating pleasure. As mentioned in the introduction, a table is not a handicraft, it must be fundamentally an object beyond its mere physical construction. The artists reflect and organize the surface of the work and not just its plausibility. The animation of the painting leads the viewer's eye to the main topic, but this theatrical dialogue with the subjectivity of the creator and the viewer.

Classical culture is based on a desire for an idealized geometry representation. The open conflict between proponents of color and design embodies the questioning of the effects of composition and surface. Indeed, the painting is not a network of geometric lines to focus the viewer's attention on the work itself, it is also a chromatic playing surface effects "psychological" compositional and color. Curves and curved-cons ornamental effects are accompanied by shades which are all qualities specific to painting.

A table is an expression of the artist, his organization of surface is the result of its reflection on the establishment of his subject. In the nineteenth century, we see a flip-flop. Classical geometry of organizing subject disappears, giving way to a visual culture of the area. Indeed, what is that building the table, the eye's surface is painted in its entirety. Given the failure to detail, the artists will build and develop a plan of surficial work. These developments are in support of advanced science of perception. The logic of perception focus gives way to a perception eccentric. The color becomes the engine that full recovery of a work surface expressively complete. Geometric structures used previously to argue with the composition and highlighted its historical regime is replaced by a principle sensory and contemplative.

The pictorial space function changing its composition changes. Eugene Delacroix in his work of 1848 Arab comedians or clowns , composes his painting not as a focus on the very subject of the title, but on a chromatic field to allow the eye to be affected. The marriage between the primary color red and its complementary green generates in the composition of the white painter. The concentration of light is a scattering of color on this surface phenomenon resulting in additive white. He finds himself repeating all depth planes of the canvas. In the foreground by the "patchwork" in the main stage with a red, or even at the bottom with the same character walking in red. There are no more centrifugal effect but rather a distribution and occupation of composition on the entire surface of the table. The work looks as a whole, or ornamental uses because the board, its function becomes sensitive.

The geometric structure remains a means for the general organization of the table. The work of Claude Monet from 1878 shows these leftovers. The X bar the whole composition of Bras Seine near Vetheuil , is a hook to the eye showing that by far the work seems to represent a three dimensional space. Yet the technique of touch and dilution of the subject leads to see only printing is not a representation.

The pictorial surface by its activation becomes a sensory issue. The key, wheelbase, and the effects of material attached to the unique nature of the paint for the painters are the only justifiable reason for the table.

latter pursues the issue of structuring pictorial space into something expressive. By the visibility of the document in the development of material, modern artists are trying to assert their own subjectivity. While the quality of an artist from previous periods lies in an analysis of its composition, claiming that the modern period when the impression we are dealing with a subjective expression.

The switch to the abstraction can be regarded as a mere continuation of the activation subjective pictorial space. The paintings by Olivier Debre, drawing Zaou Wou Ki or Geneviève Asse claims an autonomous pictorial space. Surface expression of full and empty paint claims its purely visual.

The eye does not rebuild the reality that a full inquiry and the void and in no case any premises. The organization of pictorial space is meant to be an object in its effective visual communication and willingness to embrace the viewer visually. Throughout history, the paint despite his willingness to mimesis seeks an organization to effectively surface the transcript and the representation of a subject. The surface is pierced by any painter but as an opportunity to exploit expressive.

space in painting is kind of compositional and expressive. In keeping with the times, the structure of a table does not remain a set of surface lines and shapes.

Mind Control Forced Cock Milking

scenic

picturesque landscapes

This first conference cycle "spacetime sensory" presents an overview of the chronological representation of landscape painting in the fifteenth century.

The picturesque adjective meaning "that strikes the attention with its beauty, its originality. Original living color. "The representation of landscape painting is meant as picturesque figuration space is by no means a story but the elevation of nature by painting its implementation. The landscape is not originally a separate genre, but is built in the background stories. Before delving into the concept of space in painting, this conference is a demonstration of a genealogy leading theme of the landscape to become a driving force of modern reforms of paint between the fourteenth and the twentieth century.

prime example of this conference, two panels of the predella by Andrea Mantegna dating from 1457 to 1459. The Renaissance artist develops in the first panel, The Garden of Olives , scenography where the eccentricity of the action leaves a big up to the observation of a landscape on the outskirts of Jerusalem. The unusual dimensions of these panels lower registers, measuring almost 90 cm to 60, provides sufficient area to develop all the details of a landscape. Mantegna, painter, scholar, claims in The Garden of Gethsemane that the picture is actually a "window on the world." This sentence shows in the work of the Florentine theorist Leon Battista Alberti was the turning point in the development and representation of the battlespace. Three quarters of the panel surface of Mantegna become the place of developing a three-dimensional landscape. For the sake of historical truth Mantegna is based on a text dating from 70 AD to represent Jerusalem. The city in the upper left panel is a topographic marker of the action cycle of the Passion of Christ. We find in all three panels thereby unifying the action in a single location. Jerusalem form the background of the representation of the Olive Garden and is connected to the opposite story, with a footprint path by the soldiers and Judas. Mantegna unifies his entire landscape with traffic. These shifts are narrative while Christ prays in the Garden, the advancing soldiers with Judas and his arrest is imminent. In the second panel, the resurrection, the same figure Mantegna temporality. The landscape is visually less detailed, the overall composition focuses on the figure of the resurrected Christ at the center, observing the path that leads from Jerusalem to the tomb we see two women walking their way to the foreground. When they reach the tomb will be empty. The spatial unit of the landscape in Mantegna is by traveling in connection with the story appeared. The "window onto the world" is like writing Alberti "A window on history." The landscape is a visual three-dimensional to the story.

As you progress through the timeline, the Flemish altarpiece representing the Virgin and Child with Saint John and Saint Mary Magdalene also presents a natural setting in the background. Each panel has a clean spatial inconsistency with that of others. The horizon lines are not uniform and the details are not figured. This individualizes the two side panels of the central panel. The campaign represented the two saints behind the side panels reflects Flemish campaign. Indeed, we can see a farm, a system of woods and fields, giving a more contemporary image of Earth. The historical landscape is less to make closer the saints. Flemish artists include a local landscape, humanized, transformed by man.

vernacular This aspect continues in the next century developments in the seventeenth-century Dutch landscape. The Landscape with ruins figures prominently action on the bottom of a contemporary landscape where the ancient ruins idealize the spatial representation. Even if the story is actually in the foreground contemporary artificiality buildings intellectualization.

More reforming the Navy dejan van Goyen depicts the upheaval of the landscape. The subject is anecdotal and has no historical value. Visually, the artist completely lowers the skyline. Whereas in the Flemish primitives, where else in the landscape with ruins, the horizon is above the vertical half of the table, here she finds herself in the bottom quarter. The landscape becomes a reflection of reality taken from the perspective of man. By becoming autonomous subject of the landscape becomes more human, to both in its action but also by his views. Devoid of any narrative interest, this theme becomes purely contemplative.

French painting of the eighteenth century was influenced by the development of the Dutch landscape. Thus the table entitled Houel Chanteloup near Paradise, made for the Duc de Choiseul in 1769, has characteristics similar to its spatial construction. The horizon line is below the horizontal median. The view seems to height. Spatial construction sits a geometric perspective garden in the foreground, but is deformed in response to the hanging end of the table. Indeed, the painter was commissioned to create "above door" so that space remains consistent on the viewer's perspective, it distorts his perspective so that it is correct by checking the dive-in cons . The view of the representation of landscape, is outside. The landscape remains an autonomous principle of pictorial composition.

This artificiality is reflected in the inconsistencies of the piece of bright reception landscape Rising Sun of Julliard. By studying the natural light coming from the angle upper left, we discovered that sunlight passing through trees and rocks. The idealization of landscape artists led the search for artificial visual effects for the picturesque composition. The representation of nature is by no means an accurate search. Since the ideal landscape of the seventeenth century, the painter's mission is to elevate his subject to a higher reality. The landscape is by no means a mapping of the territory. He is an intellectual and visual system.

Always for the eighteenth century, we can look at the table representatives Demachy a panoramic view of Tours in 1787. The artist represents the city taking the north bank of the Loire. Historical document must however be aware that the artist has never traveled to Tours, based on architectural drawings and descriptions, it will develop a fairly accurate representation of the city without it ever being confronted. All tables are made of the eighteenth century in the workshop. The composition remains an exercise indoors. Landscape painting remains strong compositional and ideal.

The sight of the cascades of Tivoli and the Temple of the Sybil Hue tells us on another conflict and another development of landscape painting. In the hierarchy of genres, landscape happens to be in the middle. It can not grow substantially over very large, reserved for history painting. Yet here we have a landscape of impressive dimensions in which man seems completely minus. Dominated by waterfalls, but also the temple, a philosopher is to be a small presence in the vast countryside. The landscape is nevertheless ideal, motivated by a ruin and an exceptional natural. The theatricality of the stage design is reflected in its effects.

In

switches between the eighteenth and nineteenth century, Valenciennes defines the historic landscape. The latter can not exist in its autonomy by its attachment to a historical fact. In a further liberalization of the representation of landscape, its value is historical. Tables view the forum in the evening and View the forum this morning reflect historic character and interest to ruin. The artist Buckwheat Belmont views this forum as rubble under a light morning or twilight. The proliferation of references to painters of the past such as Claude Lorrain, with the sun visible shows that the artist seeks to enroll in a genealogy artistic views of Italy. This is for her to demonstrate its commitment to the ideal landscape. The historical landscape is a winding valuing intellectual and artistic representation of space and highlighting the degree of artistic and intellectual knowledge. The representation of nature is therefore by no means an autonomous element.

The travel and travel for artists become a subject in itself. Rome or even the East are favorite subjects. The tables do not remain not least the compositions of workshops where issues pictorial prevail. Thus Oasis Belly represent as much the subject as impressions. Artist played on a wheelbase to give impressions of warmth and flotation. Decomposition pictorial dissolves the subject in a painting exercise. Modernity appropriates the artificiality of the representation of nature. Though still inspired by a concrete, the painter makes a work of obvious color and material. The painting becomes a visual experience before nature of painting. The observation is high to touch the spectator.

The landscape is a subject of absorption. The Impressionists will raise this issue as a symbol of modernity. The decomposition of the key claims about the performance of the artist and the quality of the material as sensitive interface. The painting by Claude Monet entitled An arm of the Seine near Vetheuil illustrates this principle. The choice of landscape and views are in no way hazardous. For the subject is beautiful and interesting it is to be plastically picturesque. The great revolution lies in the opportunity to paint outdoors and in the middle of the subject. But the selection is made for characters pictorial nature. In this table of the frontal canopy trees allows Monet to smooth about it. The key, symptom impressionist, is here treated differently depending on the subject, the Seine this key horizontal shafts of circular keys. The painting in its self seems transcribe the characters of each element. This is not the subject that induces the representation but the human qualities of representation that leads the subject. The two trees in the center of the bank formed a V with a reflection on the surface of the water gives a cross or an X. Thus, in a distant vision table retains a sense of depth. But when the viewer approaches, the key is revealed as the subject. Like a stage set, the Impressionist paintings are on two observation times. The first far seems to offer us a practical aspect. But when we approach they offer us the reality of matter. The painting becomes the only subject, the only material capable of transcribing the luminous impressions of a landscape. The opacity of the surface of the table trying to make visual impressions and experience of the gaze. The dissolution of the subjects is looking for an accurate visual phenomena in painting. Table of landscapes is an invitation a sensory experience.

To conclude this brief overview of the evolution of landscape painting in the collections of the Museum of Fine Arts, Olivier Debre and Table from 1976 Long teal crossings of the Loire to the task Green . Nature is the starting point of abstract painting by Olivier Debre. This lyrical painter seeks not the accuracy but the impressions left in the landscape. The experience of reality is not only by sight but by the entire body. The monumental size of the table formats Olivier Debre in relation to the Loire makes them almost panoramic. The color fields and become exposed a way to include the audience in the only reality of landscape painting: color. The disappearance of the subject does not seem abnormal.

From the outset the landscape appears an ideal element that is used in the composition of the painter. Abstract painting based on the sensory processing of the representation of nature to bring the viewer from the subject. Landscape painting even before its independence is a color space generating feelings of proximity. The artificiality has always been a quality of the landscape.

Between the fourteenth century and the twentieth century, landscape painting was built as container land closer to the observer of the subject. The development of a three-dimensional spatiality rests on the ability of the painter to feature on the landscape. The latter is built in a picturesque because logic of idealization and not mere naturalism. This brief history of the landscape-oriented theme of the conference cycle time sensory space, shows both the prosecution but also the commonalities that may exist between an artist of the fifteenth century and one of the twentieth. The painting is intended to record of concrete space and its representation. It is a sensitive area that the construction of the landscape makes it more accessible to the eye. The sharing of sensitive between the fifteenth and the twentieth century is reflected in the theme of landscape. Concrete images and always idealized landscape is picturesque in painting because it is always more beautiful, more colorful, original.

Crazy Sorority Hazing

Space time sensory introduction.

Space time sensory introduction.

This fall the Museum of Fine Arts Tours, we are continuing the questioning of the artwork and its social interactions. The Cycle Space time and sensory "try to decipher the close relationship between changes in spatial representation, the intellectual exercise and individual generated by the work and finally emerges temporality of artistic work by his comment. The acquisition of the painted work is not simply a space object but an object by its testing time.

The theme of this cycle is directly came from my doctoral research. For five years now I lead at the Université François Rabelais a doctorate on German artist Raoul Hausmann and the reflection Optophone. This device to enable blind people to hear the light, is a prosthesis system belonging to the artistic reflections of the early twentieth century for experimental work from its creator and those who practice it.

Between 1921 and 1922 in two texts: the Manifesto of presentism and Optophonétique, Hausmann says he wants to fundamentally transform the experience and the physicality of the work. For him, perspective and all the principles of geometric construction of the employed are outdated systems. For a work to be effective and functional, it must include sensory viewers. In keeping with a principle of philology, Raoul Hausmann did not deconstructed value of past works but trying to update a work in harmony with the times. Within two manifestos, he said that the construction time and space of the work must include the logic senses. To him a work of art is an element of space, time and sensory. Getting to generate such an artistic process leading to the emergence of a sixth sense.

As part of this cycle, I want to implement the principle of the experiment of the artwork. The spatial and temporal evolution of the work for its reception, explains or illuminates again the changes implemented by visual artists.

By focusing on painting, we seek to understand the implications of exceeding the flatness of the work. The three-dimensionality of the geometric perspective, we have already discussed in the previous cycle "Transparency and Opacity" is the live visual cone of the eye of the beholder and feigned a space by a mathematical system. The scenery, sets, descriptions become elements engines and an elongation of reflection following the observation of the work. Through 12 events we try to decipher the methods of evolution and interaction generated by the sensory table.

cycle passport for art retains its challenges: Both illuminate the museum's collections and allow the greatest number of appropriating them, reposition the big names but also of great artistic movements to have a real passport to the best conditions for collections, exhibitions and artistic object visible at any later and outside the museum. My approach to art history rests on a logic of continuity and evolution of the work since the fourteenth century to today. For me, the artwork evolves as the society around her and in a mutually inflected dialogue. Issues empathetic, emotional, sensuous of the work are just outstanding in each period of trying to coexist with the art collection of the world.

Space and time form the four dimensions of our reality. Artists in a logic of mimesis seek that the work is a sensory point of view and the same experimental value, these four dimensions. Developments in scientific knowledge, but also generate a philosophical reflection that the artist must integrate so that his work is as current as possible.

To return to the text of Raoul Hausmann, in this Manifesto, published in 1921 in a Dutch avant-garde magazine, argues that the artist's work fits perfectly in his time. This presentist character of obligation requires integrating practical and completely all new scientific data. Electricity, the birth of talking pictures, generate in a number of artists of the early century fantasy a possibility of a show covering the entire audience in a sensory experiment. These issues of the vanguard that are reminiscent of previous artistic questions. Raoul Hausmann calls philology as a form of reflection. Philology can be viewed from three perspectives: it aims to capture, in their linguistic manifestations, the genius of a people or civilization and their cultural evolution, it follows examination of the texts we have inherited the tradition in question and it embraces not only literature, but writing. In practice, philology tends to be reduced to textual documents. Philology sits on the historic achievements in order to provide an excess and a progression. The genesis of modern painting in the early fourteenth century is the mirror of the evolution of a society that perceives itself, based on the frames passed between another model of ancient and evolving to exceed in a logic progressistee.

Issues in representation of space and time, therefore urges the artwork to become a physical and intellectual. We will come back but the evolution of the representation of space in painting can be done with the development of a logical narrative and descriptive qualities of the work.

Temporality becomes ground when the table is a reflection of the inhabited world and empirical. The disappearance of funds or for "an open window on the world" can not be done in the quest for implementation of an object represented, its temporally contemporary observer. This is where the work Art is both a witness of his time, but also included an object in space and in a proper time. Even if we are not a spectator of the fourteenth century or the eighteenth, the work retains its internal space and time forcing the viewer to dialogue and making it an object generating the feeling. With a hint of irony, so we could say that the establishment of a contemporary work, gives the spiritual exercise that generates a certain timelessness.

Cohabitation between a reference space-time artificial, that of painting and a referent real time space that the viewer plays a modality interréférentiel where cohabitation and fusion of the two should be routed for optimal empirical principle and empathetic.

The artwork is not a mere object of sight but truly a invitation to the body. Behind this issue is the denial or glorification of the body to paint. Between spirituality and religious or devotional voluptuous and carnal consequences on the interpretation of visual information its very different.

The first conference is devoted to landscape painting. Entitled "Landscapes scenic, it will return to the evolution of this genre in the 14th century witnessed both the selection of the topic covered by the term picturesque worthy to be represented in painting, and character from sensory until the disappearance of the subject to make room for color fields. The lyrical abstraction by Olivier Debre can be read as a continuation of a dialogue between pictorial space and natural areas. The artificiality and expressive work is based on dialogue with the feelings and issues Sharing the paint. Understanding the evolution of the representation of space, narrative and then first autonomous, lights on more than one point of evolution and the representation of reality.

The second lecture is devoted to "The pictorial space in question." Indeed, the artificiality of the painting lies in its capacity as sham. At all times the paint surface is understood as two dimensional. Or for an interaction with the three dimensions of reality, issues of composition is based on an acceptance of sham by the viewer. The pictorial space is therefore by no means a real space but concretely and completely artificial. The development and pursuit of dialogue between surface and depth can be analyzed as one of the fundamental evolution of the pictorial medium.

The third intervention addresses "Temporality in painting." If quickly set design painting generate three-dimensional plunging viewers into the work, the next time and the description of the art binding table space to become an art of time. The exercise covers visual and contemplative a double temporality: the one who performs the work, and one who looks and recomposed. Time in painting is both linked to the spatiality of the medium but also the temporality of the beholder.

The fourth theme questions the relationships between "painting and music." From the fifteenth century, is located opposite the painting and music. Painting, art space, is likely to be complemented by music, art time. Geometric perspective and mathematical point of concordance correlation with the music. The latter by its range of notes is to many observers and thinkers of the art mathematical and precise. For a path towards a total art in absorbing the viewer through the painting, the musical style is supported.

The fifth theme is another dialogue between different artistic practices: "Painting and Dance" and pursues a dramatization of the work. The ballet and opera to become a model for painters. Even if the movement in painting is hung, it can for the position of the body become dynamic. Representations of dancers and dancers are figuration then frozen inviting the viewer to project from moving. Dance is an art where the performer is physically occupy the space and connects callers a series of movements with a sensitivity. The musical styles and dances thus allow the artist to come to confront one another spacetime.

The sixth conference on "painting as object empirical" try to understand the evolution of the representation of subjects as a way to generate an experience of the viewer. For a table is effectively an empirical basis does only on the experience and not a theory, the artist has seen the eye of the beholder. Painting by its links with other arts, is a module of the lived experience of his time.

Seventh Conference "painting and touch." The painting is a visual object which in its fundamentals is only for the eye of the beholder and in no case to the body. Yet, by working the material and thickness from the sixteenth century, the painting seemed to speak to the eye and through him to all the senses. As St. Thomas, we do not believe everything we see but we give credibility to everything we touch. For the sake of accuracy and precision painting will play some opacity and a palette to convince her that she is both a subject but also represented a sensitive matter. The area offers pictorial thickening regime visual and tactile. With this conference addresses issues of inter sensoriality the pictorial medium.

logical continuation of the dialogue between painting and other artistic practices, the eighth conference returns on the dialogue between "painting and sculpture." First a reference question: the relationship to ancient painting was made primarily on a dialogue with the sculpture .. The sculpted object is inherently more engaging for our three-dimensional reality. We revienrons touch on this in access to sculpture. If painting is a fragile surface, inaccessible and mental sculpture in turn is a concrete object and physically. The other key element is that the sculpture is a three-dimensional object around which we can then turn to change views. The front surface painting will now find itself to have an object model as it flattens. To generate the same feeling, the artists will play the multiplication of points of view identifiable as a single body for the three graces.

Ninth Conference, "the description as activation of the work" addresses the speech as the mark of respect. The evolution of the representation of time and space by the inclusion in this sham of sensory perception of the viewer is historically the development of speech. The description is an argument for the artist but above all for the viewer this quality of absorption and communication of the work. Describe an array is an activation and ownership of the subject by the beholder. it demonstrates the subjectivity generated by the look and work.

In direct continuation of this conference, we are committed to the 10th on "The eyes of the amateur." From its original modern painting as object experience becomes polysemous. The lover, who shares a certain degree of knowledge, influences the actual reading of the work. The birth of art criticism, texts describing works become an experience in addition to eye even on the table. The look of the amateur looking for a sharing of experiences, both physical and intellectual and, emulating a work of intellectual view and referenced. This follows a logic of knowledge sharing where the work is not a mimesis, but a cultural network.

The 11th conference described the practice of contemplation: "The scheme of Table contemplative in its evolution between the fourteenth and the twentieth century." Spirituality déviotionnels principles, the issues are sensitive between the fourteenth and twentieth century progress. How do we get a table supporting a rise in religious an opera. Object both out of our space and yet who actually leads us by referring to their mental elevation. Contemplation is a visual exercise that goes beyond the observed object. Paint between the fourteenth and the twentieth century is a contemplative and reflective interface.

conference last cycle, installation and commissioning as space experimentation, addresses issues erecting and complete transformation of an exhibition to encompass the viewer. The establishment of exposures is by no means an object leaving each work individually expressed. Scenographies whether or installatoires museum, think about driving the audience into a space journey. The twentieth century has an exponential increase in installation practices of contemporary artists. The challenge is clear: by changing the complete space, the artist plays exceeded the scope to include the viewer within the work. The installation is a continuation actual sharing of sensitive linking spatial and temporal reference of the work and the viewer.

The last conference concluded this short cycle "sensory spacetime. The stakes are clear, working on the space we revisit the question of the painted surface and composition in dialogue with reality. The time is both historical narrative but also contemplative and contemporary. The painting once it starts on the path of a modern division of acquiring sensitive sensory and sensory quality. Painting, art of space becomes the medium an artistic expression correlated with the times and seeking a dialogue with the reality of the issue feeling. Despite a title abstract, this cycle looks like a painting activated material. A painting by the feelings it generates and the will of expression is not an inert object and purely decorative. The evolution of receipt and issues of representation are in a very simple issue with our own existence.

We are conscious of reality through the sensory input space of time. For the painting fits perfectly in a possibility projection of the viewer on the surface, it must engage in dialogue with space, time and the senses from what he observes. We are spectators but also actors in this activation.