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.
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