Red Mucus Before Period

touch paint, an empirical object?

Painting, an empirical object?

After questioning the merger of the painting with the musical arts and dance, we are pursuing the issue of space, time and in the sensory table. If from the fourteenth century painting becomes an art theorized, the issue of sensitivity gives a non-theoretical, sensitive and simple eyes. Empathetic principles developed from the late thirteenth century religious following will make painting an art that must be visually expressive. The table to be effective a communicative point of view must satisfy the eye and touch, sensitive interface required. As a result, despite its exceptional nature, the paint can be regarded as an empirical object? This lack of theory in a purely visual reading of the table should in no way exclude the writings and the many theoretical reflections associated with the reforms of modernist painting. The problem today raises the possibility of reading the table visually and sensory. The emergence of individualism accompanying developments humanistic thinking assumes that each visual exercise enough at first to conceive and understand the expressive qualities of paint. While scholars debate reflect a phenomenon painted apperceptive, dissemination and visual effectiveness of the paint is always a mere perception of a phenomenon whose eye is on the item to convince.

From the fourteenth century, the increase in religious images of morbid or violent scenes played on an affect sensitive. Figurehead, the representation of the crucifixion shows an emaciated Christ whose chromatic tends to rot. And master's crucifixion the cross of Piani Invrea exposes the eyes of the devotee a repulsive image. Compared to the two thieves, Christ seems to be in an advanced state of decay. The emaciated body, without life is presented as a conclusion to the nature of human incarnation of the son of God. The relationship to death and its representation known in the fourteenth and fifteenth century a successful theme. Christ on the Cross provides beyond iconography to send an image of a certain violence fundamentally affecting the sensitivity of the observer.

The saints are martyrs be represented and sanctified forever, but human suffering. The Martyrdom of Saint Agatha reflects this visual violence seeking to touch the sensitivity of the viewer. Leaving aside the knowledge of the text, the panel shows a young Italian woman trying to get the chest by pulling pliers. Even if the face of the holy is not distorted by the pain she suffers, the mere showing of such behavior vis-à-vis our bodies naturally create a sensitivity and empathy.

final example for the period of the primitive, the crucified Christ by Lorenzo Veneziano is bloody. Beyond a Eucharistic principle, the Venetian artist reinforces an image of horror to play with the feelings and the feelings of the viewer.

The incarnation of holy figures their fellow humanity, it is not exposed in daily life but in a dramatic and violent episodes of their martyrs. The image is meant powerful, painful, at times unbearable to better reach and persuade. Sharing is possible in a sensible projection of pain far exceeding the theoretical framework for an empirical framework. The eye and experience are used by artists as an element to reach the beholder.

At the Renaissance, the development of geometric perspective is intended both as an ideal setting to "open the window to the world," but it is also a reflection on the very functioning of eye. Indeed, the cone illusory geometric perspective is the cone eye. For its visual effectiveness, the painting can be a simple theoretical framework. The window on the world is a sensitive medium, where experimental everyone can find elements from his own experience and have in no way connected with any aesthetic knowledge. The visual system and sensitive image plays a phenomenon of appropriation of the subject by the viewer. While the principles of illusion serves a historical and narrative scheme, the object generator is sensitive to paint his vision of efficiency based on collective and individual achievements empirical. The image may initially be analyzed as simply visual and non-reflexive.

The Flemish Primitives question this closeness between subject and devotee. The representation of the Virgin and Child is just that register a significant empirical. Indeed, the representation of a strong bond between mother and son is felt by all, this image of a happy family reinforces the iconography and the pain of the Pieta. Playing on the heartstrings of an iconography where everyone is projected, the dramatization of feelings and their representation theory is self-explanatory and is in its immediacy and participative than purely empirical. This approximation is the projection takes place only on sharing sensitive virtual equivalent between the subject and the represented person viewing the work. This intimacy is a principle almost the sixth sense. Empathy, in other words the ability to project themselves into the feelings and conditions of a practical and visually other cheek instead of on the unusual characteristics of his subject but the desire to make the composition a element close to the beholder.

Reconciliation and questions on the optical and visual phenomena will become, beyond the subject and its sensitivity, compositional elements of the structure of the table. During the previous cycle dedicated to transparency and opacity between February and June 2010, we given the developments of the camera obscura in the seventeenth century in Holland. The work of scientists like Kepler, will dissect and describe the phenomena of light. Painting, art of light, will incorporate these new data to enhance its visual effectiveness. For the work touches the viewer and shows a distribution of the sensible, it must be built on a system corresponding to the eye operation. Whether in a still life, or even in a landscape with ruins, the work has to be a contemplative element, observation or first look is caressed and touched. Although reading symbolic multiply around the representation of simple subjects, exercise is the first visual observation of the work. Therefore the eye is satisfied so that they can give birth to a second reading time. The sensitive and sensory become the first two interfaces with the content of the work.

in Italy from the early seventeenth century, the development of an image on a record playing sacred to secular model continues this dual readout register. Thus the painting of St. Bartholomew is an evocation of martyrdom. The figure of the saint presented profile plays in a nearby field where, by a powerful light and shade gives it its dramatic. This culture provides a sensitive work in which the senses alone can generate a feeling of empathy and above.

With this notion of pleasure that binds to the reception of the work, the artists developed a vocabulary to touch the eye and the sensibility of the viewer. Secular models like the evangelist allows more efficient sharing sensitive by subjecting the light of an earthly man a subject of a similar nature. Theatricality and its sentimental evocation is no longer simply contained in the narrative, but in the intrinsic qualities of painting. By this sensitive and empirical register table must be an effective communication interface. Based on a strictly artistic vocabulary, painting student and visually materializes feelings. To do this, painting, along with theorists have thought at peak efficiency and principles of composition of the painting.

In France the writings of a philosopher like Descartes will present and reinforce the principles of an ocular perspective. The surface of the table and the retina of the eye becomes almost two screens, two interfaces of the sensible. Convince the eye in its sensory stimulus is a necessary and fundamental step in visual and intellectual exercise generated by this object outsized. This feature balances the empirical and moral grounds ideal of painting. The debate between colors and designs can be analyzed as a questioning plans between theoretical and empirical table. Sensitive regimes are part of the visual exercise. If the idealization creates work that makes the moral elevation of his audience, this increase can not be done in line with a visual exercise effective.

In France in the eighteenth century developments on simple and accessible show a counterbalance to history painting. Landscape as a still life genres are classified as inferior. Yet despite the lack of narrative principle, contemplative character accompanies this empirical principle and sensitive array. The organization of colors, wedding colors are all characteristics necessary for good painting. The reception piece of landscape sunrise Julliard does not play on the likelihood (cf. Conference scenic). The shades of salmon pink and green creates a sensitive surface to delight the eye the viewer. Even if the table should keep for a number of observers of the moral virtues, the pleasure of the gaze is fundamental. Faced with a work before any content analysis table is immediately pleasing and attract the eye. Empiricism of the visual exercise is detached from the moral regime. The subject can convince the simplest and sensory delight and substantially the viewer.

Theatricality and the spectator played on the origins of modern painting. Exercise video description and composition are virtues and qualities of the pictorial medium. Appears a fundamental dichotomy. The paint can respond to a purely visual expectation without a lead to spiritual elevation. The developments in science will support perceptual phenomena and argue in favor of a sensible diet of table. The eye is not an inert structure, reflect how the colors described by Buffon accidental eighteenth dau. The eye that was hitherto a receiver can also become a transmitter. Central organ in the perception of the painting, it can and must be the only purpose of art.

The projection of the viewer within the picture is more sensitive only in a register and mind. While the neoclassical proposed elevation and moral value of these subjects, romance offers a sensory experience sharing of experience.

Yet neoclassical works are not devoid of empiricism. The many naked developed by Ingres show an agreement on a look out "immoral." The beauty ideal dismembering these female figures are nonetheless stripped out invitations to a movement of the eye on the female body beauty and eroticism confessed. The distortions are not readily seen a distancing of the spectator but rather an absorption of the latter to the attraction of the subject.

The principle of immediacy of the first sight led to a number of artists to reflect on this significant and immediate impact of the painting. Arab comedians or clowns in Eugene Delacroix, the simultaneous contrasts between the primary color red and its complementary green seems to govern much of the overall composition of the work. The eye seeks a balance and empirically by additional principle emits white.

sharing this sensitive topic for dissolved a homogeneous composition. The artist seeks to communicate its own perceptual sensations. In individual and collective perspective, the paint must be issued before any of the senses. The eye is not an objective interface, the table itself is a subjective communication. The experiment is the observation of a painting must show that. While still in the eighteenth century the color harmony accompanies the subject, in the second half of the nineteenth century the picture is a remnant of the absorption of expressive painter. The likelihood is no longer the practice of painting. The surface of the table should be a sensitive screening. Deconstruction Impressionist played on this phenomenon. Table of 1878 by Claude Monet arm of the Seine near Vetheuil reflects the disappearance of the subject and the strengthening of his empiricism.

For the key and the plasticity of the surface of the painter's work invites the eye to a visual exercise and sensible. If the subject is broken is to better assert its visual impact. The very term Impressionism comes to print. This phenomenon is the first look, the retinal impression. Light is one of the fundamental subjects of Impressionism. A rewrite gives the pictorial Now picture a character. Just as the painter is dazzled the audience must be as well. That sharing of sensitive reinforces the empirical painting. Stopping on the first observation, the table is first and foremost a sensory experience and sensitivity. Some illusion is still present in the reasons for painting. Claude Monet can never get rid of as natural subject matter. The deconstruction of representation seeks to return to everyday visual experience and real. Light is the carrier of all information captured by the eye. In searching for his transcription of the pictorial medium, impressionist painter seeks a share more sensitive and makes painting an object purely empirical.

Dislocations of the subject by various avant-garde of the late nineteenth and early twentieth century are not so far away the subject. Just see what commitment will the Cubist painters gallery to locate and describe the still lifes of Picasso and Braque. Modern developments in art of the twentieth century are increasing and demand for quality empirical painting.

autonomy of abstraction in the subjects is not leastone claim of the objects of painting. Transcendence claimed on the surface of the table gives the dual nature already present in the fourteenth century.

Large tables after the 70 Olivier Debre reflect a sensory experience to reality: the confrontation at the Royal River. The lyricism of its abstraction based on color value. The arrangement of tables in the viewer must generate a dazzling and sharing sensitive only empirical. If the relationship with the landscape was until the late eighteenth century led by a color arrangement of an idealization of nature, abstract painting of the twentieth century, not cut off from its origins landscape, are an autonomous object of the table where experience eye, and sensory generates feeling. Because painting has always been recognized as artificial. Its merger with terrestrial features beyond its control illusions reflects a principle of sharing experiences.

This conference is a question: Is the painting an empirical object?

As part of that cycle devoted to space-time and the sensory in Western painting from the fourteenth to the twentieth century, empiricism an object detached from any narrative principle for understanding the changing nature of the dislocation of the subject claimed or argued by its empirical nature. The willingness of empathy, of spiritual elevation or even morality can not be done if the object in a first of its observation in touch sensitivity and feeling in his viewer. To do this the table before any theory must be empirical. This communicational efficiency design that the eye is not just a receiver but is also an inert active transmitter. Touch the viewer in its sensitivity is not only the intellect but also by the eye.

Causes Of Foot Prolapse

painting and painting and music dance

Painting and Dance

The problem of space, time and sensory leads us since the previous conference to address the dialogue between painting and other practices Art. The music has allowed us to design their merger valuing the painting. The representation of the human figure forms the basis of historical narrative and pictorial subject. The organization of the representation of man is between the fourteenth and twentieth century questioned its development space. Dancing will enable the arts a situational dynamics of figuration. The principles of idealization and questioning by the interaction between painting and dance. Remainder of the musical style, representing dancers and dancers allows artists to freeze movement and thus a sensory. Dance, in its fundamentals, is an artistic practice using the body and its displacement as a means of expression. For the plastic organization of groups, dance is a model for painting.

In this convocation of a body dynamics, we try to understand how once again we move from a body shown in a representative body. Since ancient times, the dynamic representation password regularly by the representation of dance scenes. These dances are to be considered in their actions and plastic suspended.

The few examples of ancient art presented at the Museum of Fine Arts Tours are not explicitly dance. Yet in the ceramic, the parades of dancers and dancers can visually look at a movement of a three dimensional object. Indeed, taken in the movement and the unity of all living bodies, the eyes naturally turn around the vase. This decorative principle figurative and allows to establish a homogeneous composition in agreement with the holder. The look into the dynamics of the frieze is spatially and temporally rotated around the object. This principle reflects the formal use of dance as a means of development and movement of light through body movements. This ancient origin illustrates the temporal nature of the representation of a dancing figure that nevertheless remain suspended in its movement.

representation of dance in painting problematizes image suspended and the phenomenon of internalizing his time projection. Indeed, the body being frozen, posture must lead the viewer to perceive a before and after. The balance or imbalance in the representation of movement created a temporality. The relationship between music and painting time to generate principles of composition and rhythm. The dialogue between dance and painting plays a sensory where the body of an animated expression, allows artists to build balances and imbalances playing with the viewer's own feelings.

These ballets choreographed organize groups of people to have a dynamic effect. Even if they are as musicians, angels occupying the upper part of the central panel by Lorenzo Veneziano, showing postures which individualization creates a natural rhythm in their comments. Through dance and rapprochement with expressive body, artists understand that the position allows the light to project. The man becomes the central subject of narrative and composition, posture taken by his suspended movement of the eye the beholder. Even if the report is not immediate, this questioning of dance and expressive body positioning in the composition can discuss this comparison between the painting and the arts.

Dance is an expression pattern and balance in body positioning. With the concept of grace that develops from the sixteenth century, the model of the dancer's body positioned and balanced complete the pleasant appearance of the table. Dance, art of time, based on the vitality of the body in space. Graceful body to the ends, we may note that the spacing of the little finger observable in mannerist paintings seems to be a finalization of a posture improvement and control. The Triumph of Silenus painted a contrast to that grace posture. Bodies flabby, collapsed seem to send us a picture of decay. Theatricality in the painting's composition does not develop only time the light on the principle of narrative story. Dance, silent expression, appears to be a model questioning and communicating a time and only sensory emprique. With the notion of pleasure that grows in the grounds of the reception of the work, grace or disgrace the positioning of the body brings the painting to dance. If the model that we discuss later sculptural evidence of a cultural principle, expressiveness instant positioning of a body charge is in harmony with the observation by the artists of the dancer's body.

consecration in France under the reign of Louis XIV danced great performances, where the King takes the stage, offering an extra character to the dance. In the eighteenth century, the dancers become autonomous subjects of interest.

In the landscape with ruins, the sound of the peasants dance musician and return the image of a united society. In fact, like music, dance visually represents unity within a group. The agreement highlighted by musical concert, finds its counterpart in the formal dance and visual.

In the preparatory sketch painted Apollo crowning the arts, Francois Boucher is below the literature and music and dance. This hierarchy of artistic expression raises the dance as an art fundamentally land. Indeed, if literature and music are based on clouds and seem ethereal, dancing bears and on earth. If music is an element from its origin divine or sublime, the dance is a purely earthly and analyzed some time even as pagan. Reassessing the eighteenth century, gives it a greater expressiveness reflecting a technical achievement in the mastery of the body. The pose of the dancer is expressive and even ideal. In revealing his divinity Apollo for tat Isse, god is a pose where the balance and imbalance does not correspond to a classical canon and sculptural, but rather that of a dance .. As highlighted at the previous conference, the link with the theatrical enables Francois Boucher to play with the feelings of the viewer. The dynamics of the body complete and does not freeze the geometric construction of the table. Like angels, the body of Apollo by his dynamism created an additional decoration. We can apply this interpretation to the canvas Sylvie fleeing wounded wolf. The dynamics of body position may reasonably be perceived as a movement frozen or suspended. The dancer's body by setting his action becomes an object of expression. With the emergence of gaze and the voluptuous pleasure that must generate the table, the historical regime fades, artists are turning to dance to find a replacement then postures to build a work where the projection of the viewer has to be troubled by the positioning of the body. Frozen, the body paint must be temporally projective. The suspension allows artists to create through the internalization of the spectator as a projection pursuit movement. Body control allows the dancers to make what is a pleasant, expressive functional movement.

The portrait of Mademoiselle Prevost Bacchante by Jean Raoux is one of the most famous dancers of the early eighteenth century. Indeed, Francoise Prevost was named "one dancer," highly prestigious position, thanks to his exceptional abilities and qualities. The artist is in one of his most famous roles is Philomela, performed in 1723 on stage at the Royal Academy of Music. Behind it grows a setting reminiscent of the palace Tereus, king of Thrace and lover of the Bacchante. The advent of great dancers reflects the quality and recognition of this art. This full-length portrait is staged, where the artist tries to show exceptional qualities of his model. To the forefront, Ms. Prevost is the star. Behind her we see a number of dancers, organized in the round they are referring to a collective principle of this practice Art. The dancer in the foreground is she in a single expression. Sensuality evoked by the play of transparency and not revealing to see the chest of the young woman seems to be one of the first elements of the composition of this picture. The second is the construction of the posture. The dancer is presented in extension, in effect as frozen in a moment of elevation does not touch the ground. The shadow of his left leg not touching the tip of his foot. We face an action in a moment frozen unstable is the elevation. Yet when we look at the wand she holds in her left hand we see that it is just tight. While the dancer provides a physical effort to rise to gravity, it does not contaminate his grace and posture. This elevation, almost ideal, yet is reduced to a given land by the bunch of grapes she holds in her right hand. The diagonal formed by the alignment of the two arms creates a pendulum where what is heaviest where the top and lighter bottom. This inversion of the weighting is symbolically demonstrate the virtuosity of the performer. In its composition, the artist exploits the fact of representing a character both real and fictional. Structurally this body is frozen in a position untenable. Yet the impassive face of Miss Prevost confirms turned to us and reflects the grace of posture and shows a total lack of physical effort. Dance by the expressiveness and restraint, allows John Raoux demonstrating its artificiality and its pictorial equivalent. The drapést forming a circle around the breast of Miss Prevost just soften the dynamic movement of the diagonal and vertical body. Component of ornamentation, they are nonetheless focus on femininity and the body of the young woman. In this approximation with dance, artists are real issues and concrete in their ideals to the paint flip interview a number of major questions pictorial. Weighting, likelihood, and anything that can be attached to a given terrestrial representation of a body are dissolved or arranged by the evocation of dance.

freezing a moment in a movement that wants originally expressive artists come to play on the projection of the viewer. For balances and imbalances, artists play in our understanding and misunderstanding of the construction of the body. If the divine body in paint could religious in nature "alien" to be unweighted, the real body of the dancer's posture becomes empirically unsettling image.

In approaching the subject or taking an art of spatial and temporal deployment, painting suspentatoire then question his character. The image is so frozen that moment, however, the movement can actually be sustained. By the suspension of temporal data, claims the painting as both an art of the moment but also as an image that can freeze a fleeting. This unreality that appears allows the paint to get rid constraints of reality. This artificiality challenges and destabilizes the viewer. The dance allows painters to represent a body that is only a moment before. By the dynamics of posture, this frozen moment becomes an invitation to project themselves temporally in the aftermath of the movement. Like the ancient farandoles activate a rotation of support to read the entire movement, the painting plays the dancing body to extend the observation time and create an interpretive effect and internalized.

In the nineteenth century, the artists will continue their investigation into the temporal observation of the table. Dance, but also the normal movement, will then become a matter decomposed at the surface of the canvas. With the Impressionists, time becomes an instant and work immediately. Yet if we can evoke the movement, then we must fully represent. Unfortunately absent from our collections, studies and representations of dancers by Edgar Degas show interest in the movement and its estate. The dancers are a recurring subjects of study of French painter. Fed a standard culture since a very young age, as evidenced by the copy after Mantegna's Calvary now in the collections, the artist will make a large number of studies of dancers where their movements are broken down. And treated in a frieze, the poses are inscribed one behind the other in a dynamic effect and reconstruct the entire movement. His compositions pre-movie playing on the additional principle of the eye. The latter being active at the surface of the table, it can follow moving from a posture causing it to reconstruct the whole. This dynamic is very close to the photographic studies of Muybridge and Marey. Its decompositions develop over time, but especially the character witness presentist painting. Temporality is sensory. It is the eye which in turn handing the different movements, one behind the other creates the dynamic effect. The difference with the eighteenth century is that the subject is more internalized but outsourced by physiological reasons, and eye. Degas Dancers will shock some of the contemporary public, because it does not dance in its staging, but rather in its preparation and its backstage. We emphasize that the dynamics of body, Edgar Degas adds dynamic colors. To link or create the impression of movement the artist do not rely solely on the study designed it also adds color becomes thus naturally linked to the dance.

The expressiveness of the body rocking dance artist. Indeed, with the decomposition of the key to the emergence of line and his own expressive quality, the movement of the brush can become a physical expression of the artist. Abstract expressionism and his first time painting labor, reflects a penetration of the body of the artist in the table. Jackson Pollock stopped painting easel, he laid his canvas horizontally to the ground and turns around. Squirting paint are testaments to the movement of the artist. As defined by Clement Greenberg, "the artist enters the arena." The body then switches shown in representative bodies. Activation of the painting's surface and its dynamics related to the body becomes the subject of the composition. The painting entitled Great Grey Olivier Debre, is made with the spreading of the paint with a broad knife. The movements of the hand, arm and body seem almost identifiable and reorganize their inclusion in plastic. The time table is that of its realization. It is always a moment, but not stretchable by a projection but a confrontation with the temporality of the distribution of paint to the surface.

Through its dialogue with dance, painting seeks to develop a space-time construction of body. Less than its structural relationship with music, dance questioning by the paint scheme is an expressive and figurative. The validity of a temporal and spatial development of sensory painting binds to dance by the genesis of the feeling. Activation of the human figure in the painting is choreography. In convening the body and its scenario, the painter is "dancing" these figures to strengthen the empirical their expressiveness.

My 3 Week Old Baby Has Phlegm

Painting and music

relations between painting and music is an important focus of research in art history. The phenomena of agreement between the two arts show a desire for emancipation and sensitivity of the painted representation. For abstract artists music is a model of self and harmony. If the modern developments of lead paint to define it as a liberal art, music has always been perceived as superior. The reconciliation Both practices used to raise the art of space to a regime of temporality. As discussed above, the elongation and the absorption of the observer with the subject leads the paint to look more closely at the organization and rules of musical composition. Between the fourteenth and the twentieth century, the representation of the music will switch from simple illustrations to a compositional reality.

The outbreak of an individual susceptibility based on compassion and devotion based on a sentiment shared through an intimate experience. The principles of the internalization seem to be more easily achieved by the music through painting. From the period of primitive empathic principles related to music brings an elevation of the soul. The image is wanting in similar conduct will develop a vocabulary and rules of music. The parallel between the artistic practices allows the paint to renew and to question its own rules of composition.

representation of music in the history of Camilla should pass this group of musicians. This illustrates the marriage of the heroine. It creates a gap with the battle scene found juxtaposed. Painting is a silent object, but can the phenomenon of internalization and description of sound generated. So alongside the chaos of battle is with music a harmonious organization. The concert and agreement opposed to the conflict of the battle.

Angels musicians represented in the upper panel of Lorenzo Veneziano looks like a choir. The heavenly music represented here supports the triumph of the coronation of the virgin. The musical aspect lies in the precision instruments and in the dynamics and the individuality each of the angels. These movements seem almost hieratic object to the principal register. The mixture between divine and earthly offers two looks. Angels can be captured as a divine apparition or just as a choir land. Musically polyphony they represent is consistent with the taste of the moment. Angels can be seen as a sentimental and sensitive evocation of angelic sweetness. This ornamentation adds a sweetness to the composition. Their plan is clear plastic material.

The musical harmony becomes a model for the composition and organization of the painting. The mere mention iconography, the artists of the Renaissance will, following a number of principles, enter into the musical organization of a possible representation of a harmonious world. Music is regarded since antiquity, among others, by Plato as having the highest virtues including educational and ability to touch the soul, to facilitate the search for the absolute. The harmony of the spheres of Pythagoras leads an organization that arithmetic should be the "world soul" music considered in the mathematical principles can then refer to a preparation of cosmos and to a higher harmony. Leon Battista Alberti for the company is a universal genius lead to model and recommend to the painter reconciliation with other liberal arts. The number itself as a sense of harmony for artists implementing proper proportions to structure their work. The format of the table and its organization plastic must be a rule number. A principle of idealization in the artist submits to mind the rigor of its composition.

Both Andrea Mantegna panels have a plastic organization is not without its organization music. Indeed, the rhythms set up a corresponding number of musical and mathematical rules set out by Alberti. The Olive Garden has a rhythm marked by a number of verticals. The dead tree falls initially as strong as a second Christ. Their distance from the edge of the table is almost the same. The establishment of a vertical rhythm is intended to geometrize the space to exploit the diagonal. This harmonic principle here seems to be set up by Mantegna.

To balance the composition and nurture a harmonious sense of figuration, a number of treaties are use the principles of balance of musical pieces to try to recreate the painting. The relationship between the two art evolves, artists have begun to balance and build the table as an evocation of a musical rhythm most likely to awaken and touch the soul of the viewer. The geometric construction of the table will artistically take music as a model. The main rhythms, Mantegna mark a number of verticals such as secondary rhythms (the trees). This infrastructure provides an inner harmony to the table as an underlying logic to the balance of the composition. The dialogue thus established opens another path in the analysis of the musical work.

The music retains its figuration in the principle of harmony, unity. Thus, in the painting of the hearing prints inspired by Abraham Bosse, the harmony of the concert and the exchange is opposite the battle scenes depicted on both sides of the window.

This model structures the musical table and led the artist to reflect a harmonious temporality. Many are written from the seventeenth century to try to match composition musical and pictorial composition.

If we summarize briefly a number of writings that we might consider the musical chord is a combination of colors. Some artists stating that the agreement is perfect primary colors. Music composition is related to the organization of the canvas. But also more surprising consonances and dissonances are as musical equivalent of chiaroscuro painting. Modulations can be considered as the transition from one color to another. And finally a more modern perspective musical variations correspond to a pictorial series. The principle Harmony will be superior example taken in 1636 in the vast encyclopedic work of Father Martin Mersenne under the title of universal harmony. It puts in place including the movement of the stars and the sound organization.

This unit is conceived as a mechanism identical to the structure in syntax. The means of expression become comparable methods. The evocation of music in the eighteenth century is thus both an iconographic element but also on a compositional element. For example in the landscape with peasants dancing in front of the ruins, the evocation of the music corroborates a principle of social harmony and unity. The music has its ideal value. In the portrait of a young girl with a guitar, the music here is a stooge of the qualities of the person. The musical instrument and the posture of the girl are due to an observation and a refund of a musical practice.

The evocation of music through an instrument or even a concert allows the artist to send an image of an agreement. This iconographic value and a remnant of the divine music. Symbol of harmony and creativity, music is an element of units between the characters.

In the compositional structure of the paint will interact more with music. The voluptuous character sought by amateurs in the eighteenth century will contribute to an organization of musical composition. To search for a unity of purpose, the painters will build on this substantial capacity of music as a means of perception, a perception accompanied by reflection and conscience. The artist if he spoke smoothly about it at some point must dial like a piece of music.

sharing of sensitive content in the work of artists who are leading the audience to a sensory experience. Musicalisation the composition is intended to capture the viewer. The sensations are specific and subjective, multiple births allows the seizure of space. As support for the development of the temporality of music table is built at the painting.

Francois Boucher's works are theatrical and singing, their relationships with music being the origin of the order. The sensory constructions such close relationship to the world. The evocation of music in revealing this god Apollo for tat Isse is represented by the instrument Music brings one of the cherubs and the pace of the diagonals of ornate detail. Light and sensitive to make the composition more suave. The painter must be an atmosphere beyond the point of narrative theater performance.

In Sylvia fleeing wounded wolf, the principle of Curves and cons-curves can touch the soul of the show. The softness and smoothness of the composition established a dialogue between music and painting. ALLIANCE perfect tense sound, the voice quality and its varied expressions match the color harmony, regularity of very, elegant curves.

The pictorial composition strengthens its internal resonance echoing music. This sensory research leads to a number of experiments. For example the establishment of ocular harpsichord by Father Castel. The issue of empowerment of the individual and the capacity of the work to be touched by its meaning, the art leads to a significant total commitment. The union with the music raises the painting as an emulation sensitive. At the temporality of the gaze, the artist generates feelings similar to musical styles. The work reform to include a higher harmony.

Developing knowledge of human sensory functioning provides a bridge between the eye and ear. Visual stimuli may generate an internalization hearing. These phenomena of synesthesia challenge observers and outline the opportunity to touch the soul of the viewer completely with just the eyes.

These questions will accelerate in the nineteenth century. Eugene Delacroix in his picture actors or jesters Arab offers a work whose visual impact is immediate. This instant on which we stopped at the previous intervention led to a similar impact of color and the note. Equivalences between the color system of painting and grading system are discussed and justified by a principle sensitive. This matching system describes the possibility of reproduction of musical phenomena through painting. The pictorial surface becomes the sensing unit and a spatial experience encompassing the entire human sensory face at work. This suspended moment allows paint to use harmonic means (unique rhythm melody) to strengthen its own internal qualities. The triad is here by the three primary colors that punctuate a rate of one third of romantic composition. The painting becomes an art of suggestion, it transmits the intuitive vision of the world without soiling his innocence by the accumulation of knowledge.

The Impressionists by the choice of subjects devoid of culture bring a significant share of only empirical. The relationship with nature and the ability to find ways of emulating them is a principle for a wider communication. The table like piece of music is accessible to everyone and affects everyone in the same way. Indeed, subjectivity and intellectualism of a certain painting disappear with these modern painters to make way for a sensory experience. The subjectivity of the key and the decomposition of the matter are that a proposal suggesting a feeling. Just as music resonates differently in each painting itself wants a personal experience.

abstract art movements of the early twentieth century building a dialogue with the music to justify the break with the subject. We can note that the first abstract painting in history by artist Kupka refers to a fugue in two parts. Represent music can only be done if one considers that the picture unfolds in space and time.

The will of a total work of art developed to Richard Wagner led the artists to consider that the paint can contain all the other arts. The musical vocabulary is transposed into painting and it became the site of a multisensory experience.

Abstract art becomes an empirical test and an invitation. His relationship with music is a continuation of this regime significant work. Large paintings by Olivier Debre may be perceived as such a remnant of reality. The latter is both audible and visual. The rate tables in their reading time are accompanying musical model.

dialogue between painting and music shows a reconciliation between the two practices, but also stresses the empirical nature of painting. Sensitive and empathic communication in the table is in the music another way. The internalization of feelings can not be done by the conquest of the sentient body. The music is a model for painting him to build a compositional autonomy and especially to claim sensory and expressive qualities.

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Temporality painting

Temporality painting

This conference addresses the second term in the title of the cycle time. In the classification of arts, painting belongs to those of space, it is not apparent unless the reform started from the fourteenth century emphasizes temporality and the receipt of the construction work. Temporality means the character that exists in time. If the painted image seems to represent an instant, visual exercise that engages in a spatial spreads this time. Painting is a time that this takes steps between past and future. Regimes of temporality of the table we engage in a reading beyond the mere plastic. Two time frames established in a work, the first narrative history of the system is running, the second descriptive or contemplative commits an internalization of the empathetic observer.

The amendment to the revival of the construction of the piece gives it a temporal nature, that is to say opposite to the eternal. The subjectivity of the gaze is opposed to the objectivity of the subject, as space is objective, time is no less subjective. The reception of the work takes precedence over its plan narrative, temporality of the table changes between the fourteenth and the twentieth century by a contemplation which plays on the length sensitivity. Art is the sensible expression of the idea, the place of battle between the intelligible that seeks to incarnate and to be in a sensitive matter. This sets up the dialectic of art history.

Spatiality pictorial evidence discussed previously surface composition of organizing the flow of light for effective narrative. The movement, led by the plastic organization, shows that temporal learning and contemplative.

The diptych Naddo Ceccarelli has two separate actions in time figured on the same surface. The vectors generated by narrative exchanges glances unify the composition and induce movement of the eye from one panel to another. Consistency between space and time is not respectful of a unit, but gives signs his own temporality. We start from ground control, Magi the rightmost for us back in the episode of the Annunciation, before returning to worship. This back and forth between past and present include a time nonlinear memorial. The narrative is organized in a disorderly fashion. This deconstruction reveals a narrative temporality nonexistent to provide an image of eternity.

This principle is reflected in the diptych Bolognese on the same panel representing the Crucifixion, the Beheading of St. John the Baptist and the martyrdom of Saint Catherine of Alexandria. Three episodes, each with their own historical chronology that is to be concentrated in the same space and therefore at the same time. The juxtaposition of different episodes in the same space causes the reorganization by the look of the story. The anterior trunk of marriage representing the story of Camille can be reorganized so that the viewer himself about. For a historical efficacy and narrative, the episodes will be found to be cut.

A fundamental reform of the construction of the image to the renaissance is to organize and maintain consistency between pictorial space and narrative time. By concentrating on the panel a single action, modern artists take into consideration the immediacy of image, narrative and internalization of the devotee. The look, intellectualized, becomes the temporal development of the work.

Both panels predellas Andrea Mantegna are cutting this narrative of the story. Formally bound by their positioning in a polyptych, the three episodes depicted are constructed as a series of vignettes showing steps of the narrative. Each panel to its own temporality and belongs to the temporality of the general assembly. The "window onto the world and open to history" described by Alberti to understanding the relationship between space and time. Space construction becomes the support of the chronological spread. The formal unity and geometric three panels allows the eye to progress in reading from left to right in the story. The movements of characters between the city of Jerusalem in the background and foreground welcoming the action, and can extend to project this story. Thus, soldiers moving in the wake of Judas to the olive garden reinforces the image presentation, but it also gives a projective character. Without representing the arrest, the forerunner Mantegna. The immediacy of the performance is found to be extended in time.

This finding shows that the enlargement of the temporality of the work is done in dialogue with his audience. Past and future action are only projections memorial and intellectual viewer. The temporality of the work is constructed in dialogue with culture and a description of the viewer. This projection is accompanied by the composition of the work. The circulation of the eye is structured by the composition general and allows movement in a "physical" look to bring a narrative mental projection. A challenge for artists is to unify the narrative and contemplative. This unit to link the open window on the world and the open window on history. Temporality in the revival based on two-time narrative and contemplative.

Temporality painting engages an external phenomenon and an interior resonance. The principles of empathy, seeking to touch the viewer the story, lead a psychic resonance with the human nature represented. Table compress the three spatial dimensions into two and thus the length in an instant. For the dramatic story of the painting becomes an art space-time.

regime and historical narrative of the painting is a way of echoing the simple imitation of the object. The visual displacement on the surface of the table support this soul figured.

Visually, the design determines the shape and defines space. The color develops means to plunge into a life's work and to donate life. Internalization leads generated by the contemplation of an opacity of the material, playing absorption and the discovery of a subjectivity of the subject. The plastic construction is to touch the viewer generate physical punctuations.

The chiaroscuro of Caravaggio or Cairo built a mental movement on the surface of the table. The time is extended by a year of "scanning" gradually revealing all the details. The notion of pleasure emerging from reforms implemented between the late sixteenth century and the early seventeenth, develops the plan of contemplative time table to the detriment of his narrative regime. The pictorial material becomes the seat of this exercise mind. The color, thickness and dynamics are no longer generated accompanying the story, but sensitive structures. In the double portrait of donors with Madonna and Child by Rubens, we can meet the same stasis that in Caravaggio. There is no action, no story. The work seems to describe only its immediacy. Yet the drapery of the Virgin create a dynamic effect and binding temporality contemplative. The color and material boost and extend the visual exercise.

The organization is balanced between the plastic will narrative temporality and its ability contemplative. + The Circumcision of Vignon blends narrative and its visual discovery. What may seem like a darkening and complexity of the composition by a powerful chiaroscuro is nonetheless part of the artist's desire to extend the observation time to allow the juxtaposition of memory and principles physical. This support of the gaze and the reflection reinforces the theatricality of the table. Religious works in very large collusion between its past present and future are inherent in their narrative. The Assumption of the Virgin Lamy visually present the story and this witness editor of the text behind the image. The action is both present and past. The narrator is witness him both present and future. It introduces us both visually and plastically in the work. The snapshot offered to us is found then dissolved in a floating temporality. For these collisions, the three artists concentrate temporal elements as the three spatial elements on a single surface. The painting becomes an object out of a coherent temporality.

The narrative will still remains the main contribution to history painting in the academy. Jean-Marc Nattier in his reception piece Persé assisted by Minerva, the narrative uses a vector starting from the upper right corner and going to the lower left corner. This construction effectively sets up a time that seems linear. Phin's body half-petrified suspends the narrative. The decorations around the narrative just as much elongation of the contemplation of the work. They include a narrative principle balance and memory with a contemplative and sensory principle. The work history should generate a sense, it can simply be supported by a narrative temporality, it must be quality plastic.

Color is one of the supports of the dramatic effects of the work. Temporality and its characteristic of internalization begins to focus on simple visual effects. The eye is the organ space but also time. Driving on the surface of the table to look is no longer a simple mesh narrative but an emulation sensor. The insight generated the feeling turns into an external perception. Stasis subjects shows a loss of narrative for prioritizing contemplation. This feature meets the notion of pleasure and becomes a on the table. Francois Boucher Sylvie fleeing wounded wolf, Sylvie fixed in a position whose dynamics is not narrative but simply contemplative. Indeed, the figure is highly concentrated in construction and leads the eye to flow around the body for a simple pleasure. The vision is an act of simple projection. The array can testify that its own temporality and its own time. This autonomy reflects a compositional evolution of temporality.

This internalization contemplative and the instantaneous nature of the work permit non-narrative genres such as landscape or still life become subject to the same sentimental. Chromatic effects can create a temporality empathetic. Unlike history painting or scenes of everyday actions, landscape and still life cause any mental absorption, where time is sensitivity. In the landscape at sunrise reception piece of Julliard, spatial incongruities generate a sense chromatic effects. The look is more leads to follow a narrative, but to scan the surface of the table. The effects of hues and colors become the means for the artist to create momentum and generate a feeling. Landscapes with ruins, Hubert Robert at home, yet articulate temporality between past and present. Indeed, the ruin metaphorically means a bygone era, its representation has led to a projection by the viewer.

History painting did not disappear, but the evolution of temporality allows the table to build his own time. This reform accompanies a change in the description and visual exercise. The sciences of optics and ocular physiology allow artists to justify that feeling can be generated simply by the look and feel. Time "route "On the surface of the table becomes an instant full visual enjoyment.

The drawing that contained the story falters and the color is increasing. The absorption of the spectator is no longer in an internalization and spirituality, but to a sensory stimulus. The romantics will propose that color alone can generate a substantial impact than the story.

Eugene Delacroix, in his picture actors or jesters Arab recreates a space where the account is cleared to make way for the visual exercise. The additive system of primary and complementary colors becomes a subject. This temporal structure boasts the snapshot table. The emergence of the two dimensions of the work is accompanied by the compression of time. The act of memory and projection contained in the classical scheme of the table gives way to a work which refers to the immediate senses.

The distribution of the sensible is strengthened by the collusion of space-time spectator and the work. The visual impression and color becomes the subject of the painting. The proliferation of landscapes and still life painters in modern eliminated the human figure. Claude Monet in an arm of the Seine near Vetheuil no longer a nature without any human presence. This disappearance is supporting the final dissolution of narrative scheme of the table. Man is no longer in the work but face it. The plan sought by the Impressionists contemplative accompanied by a spectator temporality. The plastic construction of their paintings claims a flatness of the canvas, but also a structure where the eye covers the entire surface of the work. The advent of perceptual phenomena as the engine of emotional communication leads to immediate implementation. Yet the visual exercise generated over this simple immediacy. The decomposition by fragmenting the key image and lead the eye into a discovery of a pictorial surface uneven. Moving the viewer with the Impressionist work can be considered a temporality additional observation. By far the subject is recomposed, close it down, temporality becomes more physical, not mental.

abstraction will continue this physical principle. In their monumental paintings by Olivier Debre define an autonomous space large enough to include the full body of him who observes it. The eye scans in a while the whole surface of the table. The thicknesses of material at the top of the canvas and the paint drips same refer to a dynamic gesture of the artist and then offered to the composition just a temporality generated by the material and its spreading. Time work is no more than painting.

At Zao Wou Ki, the diffusion of ink into the paper created a Lotus temporality. Solid and empty canvas chant physically and temporally punctuate. These dynamic effects of the gesture and the impact of the Artist on the surface of the table gives a temporality that is more than anthropocentric. The first time a table and its performance is that of the artist. The North American abstract expressionism has strongly marked the temporality in the second half of the twentieth century. The claim of a creator's subjectivity depicted on the surface of the work creates a dialogue with the temporality of the beholder. The table becomes a surface freezing time of the first and second activating time. The work is a snapshot, but a temporal image its plasticity suspended.

Temporality in painting is a consequence of the desire expressive and communicative art. What time is narrative or contemplative, the challenge is that it generates in the viewer an emulation sensitive, sentimental, memory or intellectual. Time is a need for a work is a means of expression. Through this research and this dual nature of the painting, the painting claimed emancipation and quality sensitive. Following the models of the arts of time as music or dance, painting will borrow to enrich their quality, rise.