Bible Black Online Futanari

plans contemplatives in the fourteenth century

plans contemplatives in the fourteenth century.

Contemplation: The act of contemplating; deep meditation

Contemplating: consider carefully.

contemplation and absorption of the viewer created collusion between the space of the work and the viewer's space. Despite the opacity of the surface, the subject plays in a floating effect, where as we can see, the artist invites the materiality of the surface and the discourse of the subject. Contemplation is thus a shift of gaze, an invitation to reverie that describe the Romantic poets. When the canvas became the reason for writing ethereal.

aesthetic contemplation, catharsis

"Fortune's philosophical notion of catharsis is related mainly to a sentence of Aristotle's Poetics:" Tragedy is the imitation of action of high character and complete a certain extent, in a language statement Seasoning of a particular species following the various parts, imitation that is made of characters in action and not through a narrative, and, arousing pity and fear, operates purging (or purification) to own such emotions. " The very ambiguity of the translation of the word catharsis (which means the most common purification or purgation) Aristotle invites further reflection: that ambiguity is not only possible doubt a zealous translator, it is index of a real problem of interpretation. By choosing purification or purgation, it engages in a specific direction and is determined by the same token, a priori status of aesthetic contemplation. If one translated by purging catharsis, aesthetic contemplation appears as a simple mechanical phenomenon of discharging an overflow of emotions, a phenomenon necessary for the preservation of group cohesion. If one translates catharsis by purification, aesthetic contemplation is an operation of an essentially intellectual and moral, proper individual, revealing an internal promotion contemplating the subject, because it purifies the emotions first impure. The status of aesthetic contemplation is therefore closely linked to that of the individual within the social group.

This fundamental ambiguity of the word catharsis calls, we see a stark choice: either the aesthetic contemplation part of the phenomenon of asceticism, renunciation, by internal metamorphosis of a certain type of emotion, and then it symbolizes passage of the "natural" state to state "civilized" or aesthetic contemplation part of the phenomenon of excess, saturation, by direct release of excess emotional, and so it symbolizes the need to maintain "state of nature" in the state of society as a condition of "good works" City. "(Encyclopedia universalis)

This dual system can include a contemplative evolution of painting and observation. The previous two conferences have highlighted a paradoxical nature of the paint due to the development and evolution of its receipt. Between an object and superficial mind, painting convene contemplation, careful description whose speech and control are both the fact of the painter and viewer.

The eyes meet and work on perceived recognized (to a greater or lesser extent depending on the information currently known about the latter). This fact led to a painting as a cultural object, both objects of contemplation and meditation, spiritual exercises which are related to the original devotion ..

This spirituality absorbs the viewer, invited to transcendence, to consider the materiality and the immateriality of the painting. Transparency and opacity are not simply the fact of a likelihood but are spiritually connected to the function of painting.

The plan defined an array of contemplative image permanence and impermanence of his feelings.

From the fourteenth century, this paradox between sensory and attitudes based on a mental exercise for both the painter and viewer. The spatial illusion of the surface becomes the case narrative of dialogue and exchange. Multiple descriptions are the advent of subjectivity and the individual. The visual value is superseded by the devotional quality of the image. Whether for work or just contemplative narrative, the work is always the starting point, a basis for religious contemplation. The crucifixion, the Virgin and Child, the story Camille or even the funeral of Saint Benedict, all these images must be overcome to be useful. Spirituality contained in the wood panels of Italian fourteenth century is through spiritual exercises.

At the Renaissance, the image is meant increasingly close devotee of these details and construction. The composition gives an image to see more and more land. The multiplication of details or even the construction of geometric perspective reflected the progression of the eyes where the description careful not based simply on the basis of the beholder but on its ability to observe and describe image carefully. The vocabulary becomes a support system needed to contemplative. By analyzing the two perspectives proposed by Mantegna in the Garden of Olives and in the resurrection, we understand the concentration or deconcentration contemplative results. The eccentricity of the figure of Christ in the Garden of Gethsemane leads the eye to scan the entire surface of the panel, in a movement. Instead refocusing its subject, focuses Mantegna in a visual shortcut and the monumental triumph of the Risen Christ. The paradoxical nature of painting is here in the service of contemplation that can be purely factual and profane or otherwise be dematerialized and be spiritual.

Lapeinture as an object of communication increases opportunities for contemplation to open to the sensitivity of each and reveal its qualities. We are a spectator scholar or not, the paint must touch us about our own culture and our own knowledge.

This result makes painting a subject sociologically committed. The quality of representation beyond its mere materiality and technical implementation. The change in posture allows the viewer to dissect the outcome space, philosophical and policies. The complexity of the range and reflection plays in favor of the artist and oscillates between the surface appearance of death is a topic in a balance whose conductor is the hand and the head of the artist.

These retreats will evolve over time. With the Counter-Reformation and a nice principle, it is no longer simply touch the viewer in his belief, but to please him. Contemplation is an object of attention or spirituality gives way to some enjoyment. Careful observation is more in an absorption material but spiritual.

The previous conference was returning to the work of chiaroscuro as sensitive activation of the composition. If the look of an amateur made it an object of reflection, the fact remains that it is a kind of hypersensitivity. The effects of appearances and disappearances careful reading of the work is troubling, but especially the dislocation is controlled by the painter himself.

The detail, the object is released from his accessorizing and itself becomes a spiritual medium. The proliferation of topics such as landscape or still life reflects this ability of the viewer as the artist to see beyond appearances. This transcendence is always linked to strong religious beliefs. A still life is a testimony to the passage of time and vain by nature returns the viewer to his own existence. The exact description of the world and imitation become the support of opening a reflection on the nature of things. Painting is not a single photograph or reproduction of reality but always invites his viewer to go beyond the object. Still life and Cheese has many symbolic readings. The relationship between fat and lean refers to the principle of fasting, asceticism, and the fly in the foreground than the sham but vanity; concern observable optical reflections from glass to a principle of physical science and observation of the world. The observer then built a contemplation or absorption plays in an oscillation between material and immaterial.

We have already stated, the paint is not an object like any other. The viewer is aware that the subject represented is not only the message delivered. The spirituality of the painting gives the possibility to a surface to give a picture of the world is by no means solely factual. The absorption of the beholder rests on the composition of an introspective feeds on its own interpretation. The plan contemplates the painting finds herself responsible for a spirituality that is no longer simply devotional.

moral and aesthetic value of the paint allows it to be the scene of an outdoor speech.

Large redundant historical subjects in the painting of the eighteenth century in France refers to an image and a speech that embodies a political vision of the table. The image of the lone hero is a mirror of praise for the king. Yet the opacity of the rendering as we can observe in Chardin is some dissolution of imitation in the service of a sensitive rendering. The activation of the surface by the painter by itself apart from its absorption, the viewer is invited to a game visually and mentally.

This is where the paint is built and which still calls and asks: "What motivated the choice of subject for it to be reproduced on the surface of the table? "The real image is only useful if it transfers or conveys a thought. The choice of subject and setting composition is the game where the space and time are always excited the senses. The viewer is not fooled, he knows what he sees is necessarily a mirror raising or lowering the subject represented. This plan must pass contemplative union between hand, eye and mind.

Whether the subject is important or trivial, the picture becomes a contemplation of the game, of breaching its shape. The paint itself as capable of generating great spirituality beyond its subject.

It is not surprising to see how the philosophers will capture the image aesthetic contemplation. The table is the pattern to a speech at a development of thought. The function of this art is found modeled by its commentators. Diderot, but also in Goethe that leads to a game everywhere. The game of the artist, maker and creator of the image of the object but also contemplative spectator of the game by a visual art is to see the fruit of the control of gaze. The latter can be heard and generates a self-analysis of the work. Goethe's vision becomes a key operational component while in a mental exercise every day tending to a conscious visual experience. Sight is a sense that can be developed.

Goethe: "We were saying that all nature is reflected in the sense of sight by color. We affirm now, although it may appear somewhat strange that the eye sees no form, light, darkness and color together constituting the body to distinguish an object from another, and parts of the object between them. So we are building with these three elements the visible world and give the paint stroke possible, which is able to produce on the canvas a visible world much more perfect than the real world. " Treaty color p.80.

The phenomenon Goethe has a visible below and invisible: the Urphanomen .

The development of these spiritual exercises take as much support in the fact that in its transposition painted. Umpteenth time, actors or jesters Arab Eugene Delacroix in 1848 is, for this function of sharing sensitive, an invitation to viewers to find this extension of the observation of color phenomena. The work is a testament to the experience seen as a starting point for reflection. The concentration of attention is just as well in reality than in the abstract. The artist questions and monopolizes the perceptual and spiritual knowledge.

Contemplation East will come to feed the Western contemplative field. Relation to the world tends to be dematerialized. Yet paradoxically, the painting is a materialization of these spiritual exercises. The sharing of sensitive requires a reconciliation of art and life and couple perception and apperception. The man is both spectator and actor in the space it occupies, the painter does the same.

dislocation of the subject by the key or even by some expressionist painting led to a distancing of the subject. This is possible if we consider that the spiritual or contemplative practice is a subject of the painting. The emergence of the photograph and an objective picture of the world interact with a subjective image, painting.

The spiritual part of art is omnipresent in the field of modernity. The title of the work of Kandinsky in 1911, the spiritual in art and painting in particular, is proof. Abstract painting embodies the pictorial surface as a field contemplative. The disappearance of the subject transcends the color to make a communication element. Large color fields by Olivier Debre or even punctuation Zao Wou Ki reflects a contemplative absorption and his audience felt.

From its beginnings in the fourteenth century modern painted object is challenged to a spiritual value which leads the viewer to a contemplative state, in and out of the paint. His path led Liberal painting to a mental object. Foundation paradoxical, this dual nature transcends the tangible and intangible object. The viewer is invited by his absorption beyond the mere visual reflection or to build a sense, taking away the fun, sensory rely on what was originally a single colored surface. The sharing of sensitive through the experimental nature of the work space shall convene the time and sensory. We can never disengage the exercise of contemplative work. Temporalities that develop on the space are due to our sensory.

Anxicalm With Alcohol

the look of the amateur

The look of the amateur

The look of the amateur as a direct part in the conference devoted to the description as activation work. The emergence of text as the key to reading and comprehension of the table is in an academic regime, related to a principle of normative and qualitative grid. By the look of an amateur, another speech more sensitive and develops staff. The emergence of an expressive and individual analysis generates a more direct dialogue and linked to the painted composition. Although the value of the work remaining until the middle of the eighteenth century enabled a conventional grid, the will of a work and quality of sensitive feelings it provokes it confers status expressive.

principles empathetic or pleasure cohabiting with the will and moral education of the work, play perfectly for the look of the amateur. The visual impact, composition, material and organization are necessary for the very quality of a work sensitive and expressive.

Art criticism is intended from the eighteenth century, as a complement to the individual and subjective academic description. The painting is a visual work, including the transcript of the speech does not serve merely to a literary reproduction. The pictorial surface is an experimental space for one who performs like the beholder. This immediacy this confrontation with the material refers to a work where the senses is at the heart of its acceptance and observation. Academic discourse is always a principle and a grid to enable accessibility and culturally defining a beautiful ideal. The experimental nature and sensitive observation of the table leads naturally to question the look in a perceptual experience. The visual impact is crucial to the expressive value of the table. Reading more intimate and claim its subjectivity are closely linked to that gaze of the lover and the pleasure he feels. Description is the spearhead of the quality but the spectator, its absorption by the work transforms the theatrical history of painting. The table can not be a closed box stage, but must instead become an area of penetration of the beholder. The spectator must be booked and reflected by the work. Activation of the table through his observation and dialogue it generates with the beholder. This founding principle of the reform of the image from the fourteenth century Italian problematizes the existence of the work not simply responding to a grid and a vocabulary but setting up a sensory surface for distribution of the sensible.

This value emerges with visual figures not devotional narrative. And the Virgin in the panel with cherries, the proposed image tells nothing, not a great story hook. We face the Virgin and Child is staged. The opening of the mantle that suggest hips and marked the birth of a chest is in favor of an incarnation and a humanization. Her femininity is an accessibility as the pleasure of the gaze. The image is meant sweet and intimate relationship that generates is the same. The composition conveys a sense, a sensitive and visual dialogue with the viewer. We find this same character in the scene of the coronation of the Virgin by Lorenzo Veneziano. The transparent veil revealing a few bits reflects technical quality, imitation controlled and the accessibility of a feminization charming. The pleasure of the gaze is implemented here.

We find exactly the same settings still on the figure of the Virgin. the Virgin in prayer owned home in the Loire Valley is its framing and its staging while a sensitive and intimate that he observes. These attributes of female and softness offers a wedding where the devotional meeting the layman. The work of tones and colors is so much fun playing simple visual echo with a work that aims to be accessible. The viewer is asked to stop at the surface of the table to admire the values and the subject. The painting is intended as a sensitive area where the language refers to the senses.

To finish with the primitive Flemish models lactating virgins show a similar principle. The compositions of scenes more or less intimate relationship between mother and son invites the viewer to observing a scene in which the subject appears that historic day.

The development of the viewer's gaze and its incorporation into the composition by the painter is by virtue of which subjects give way to historical imagery available. This rapprochement between the devotee and divine figures is the possibility for it not to project a grid prescriptive, but instead of being in a division where the most sensitive details are as many invitations to the eye movement to an emotion. The virgin pain of the Flemish school plays perfectly into that. The precision of the rendering of tears and eye ashamed of this young woman collapsed are the expression of the use of imitation in which the description and accuracy interact with the feeling of the beholder.

The composition is an immediate way to reach and educate those who are faced with the work. The two panels Mantegna uses imagery land where the look is equally invited to recompose the narrative flow of the various protagonists in this space in three dimensions, like to feel their humanity, in agony of Christ in the Garden or the triumph of the resurrection.

Painting is an object whose superficial dialogue with its audience gives it a poetic and expressive nature. Beyond the narrative elements, the frozen image is generated by its material composition expression and immediacy.

In the seventeenth century, the use of chiaroscuro turn leads to the surface and the composition of the painting. The appearance and disappearance of information generates a theatricality that is as much the story that the expressive rendering of the painted surface.

The flight into Egypt by Rembrandt demonstrates the intimacy of the gaze by its small size. To see details, the observer gets closer to her. The isolation of holy figures by the chiaroscuro and the powerful theatricality serves the dramatic narrative and composition. These figures exiled affect the viewer and the composition comes in support of this sentiment.

In the Holy Family with St. John the Baptist by Caravaggio, we find this non-narrative nature of the subject. The framing and the use of chiaroscuro activate the surface color in this comparison and this comparison of the look and material. The youth of the Virgin, the pallor of the child's body, draped in the treatment of Joseph, as so many details are available the light so he could understand the value and experience in any rendering. The strong figures humanization favors accessibility of a picture whose frame format and open a window not the world, but the man himself. His compositions often rejected by the official discourse are the pleasure and delight of collectors. The academic virtues of invention, imitation and expression are just as activation of matter for the look of the amateur play of the pleasure of observing. The surface becomes an inscription expressive and substantially describable by the viewer.

The pleasure of observation allows the development of genres lower in the academic hierarchy. The development of still life in Holland in the seventeenth century shows that pleasure and visual interpretation. The eye recognizes and analyzes the work and its subject, evidence of the imitative virtuosity of the painter, it is an invitation to the movement of the viewer's gaze and its interpretation of an artificial imaging. As we have already discussed in previous conferences, the observer of the painting is not fooled, he participated in the likelihood. The painting raises the subject she represents, and look forward to being a sensitive interface with this interpretation. In the still life, cheese textures of various fruit and groceries stagings are all catching the eye and delight the viewer sensitive in recognizing and in the composition.

The look and perception are not simply a desire for recognition and overcoming mental subject. The confrontation rendering and painting the surface becomes a game and a pleasure for the amateur.

In the rest after the hunt of Diana, Boulogne stages in the lower left corner of ux young women asleep taken directly from a study. The ideal value of two female bodies is moved to the pleasure of treating skin tone and femininity as presented. Approaching the table we can see how in the processing of color and variation of color and light, the artist sets up a composition in which the appearance of suave colors refers to the character of the scene. The transposition is almost complete for the next game, for fun. The development of a look on the surface, almost caressing, testifies to the emergence of simple visual pleasure. Female nudity is not not exclude either an attraction for a male audience. The intimate scene also plays in the favor of a merger between accessibility of the subject, which must find its equivalence in his pictorial treatment.

thickening and changes in the chromatic treatment found in François Boucher a reply to this division of the sensitive surface of the painting. In revealing his divinity Apollo for tat Isse, Francois Boucher played with the effects of material and made to enable to activate the surface and look. The theme of pastoral care for a critic Diderot as an opposition to the theatricality and the closure of history painting. Lighter theme, even playful, pastoral allows an opening of the table becomes aware of its audience and its sensory tilt. The composition must meet the pleasures by an immediate physical confrontation. The story still holds up as an issue, but the picture is meant to be a whole object and sufficient.

themes of still life or landscape going into this conceit of the work call a visual pleasure. The painting can only be touched by the look, and feel the soul of the viewer. The game breaking lines diversion academic codes are all blooming the immediacy of observation. This principle of openness by the awareness of the existence of a spectator is a direct continuation of the will of the feelings of religious paintings of the fourteenth century.

By becoming aware of that place the viewer face to work for its activation, paint sets up the modern character of its receipt. The table becomes an autonomous unit and sufficient to generate a feeling and a sensory impact on the viewer. The apperceptive principle is always present but may be omitted for the simple description of the surface. Diderot return salons regularly exercise only visual. The example of the basket of strawberries of Chardin is exactly that. Observing the work by far, the philosopher sees with some precision the strawberries represented, but getting closer, the details down to give way to strawberry "squashed" on the surface of the work. Imitation is diverted by a texture about where the painting is the equivalent of the fruit pulp. The play of light and color variations become the medium for the artist to express feelings related only to the composition. There are no topics in contemplative stories and choosing a time outside the board. These developments will fuel the evolution of the work throughout the nineteenth century to today.

Arab comedians or clowns Eugene Delacroix is a painting where the artist recreates 15 years after his return from Morocco a work where the story narrative seems a number of contemporary observers inexplicable. The issue of Romantic painter is to establish a composition in which one color seems to govern its organization and the impact of communication and the willingness of the table. The advent of an art is purely emotional not revolution is the development of consciousness as the painter's work is primarily a visual object before it is a mental object. The sharing of sensitive experience observing light phenomena on clothing in Morocco and their transcripts on a panel led Delacroix to seek ways that plastics autonomous transcription. The theory of simultaneous contrasts is a media glare in the probable audience. Indeed, if the union of a primary color with its complementary can generate white in the eye of the beholder, so the look and visual perception become the essential first step of the expressiveness of the canvas.

The painter makes a painting that needs to communicate the feelings of his observation. The Impressionists will choose their subject and their paintings in order to communicate via a sensitive surface. On the surface of the eye of the painter is the canvas surface and must generate the same sensations on the surface of the eye of the beholder. Print This term is extremely important to understand this lesson from the emergence of the gaze of the amateur. The view is a mandatory interface in the communication of feelings of painting. An impression is not something that lasts over time but can simply be immediate. The paint is still an object stuck in its temporality. Deconstructions by the impressionistic touch, as in Monet in an arm of the Seine near Vetheuil in 1878, lengthen this phenomenon by simply printing the same image material. Painting by its own characteristics such as color, transparency, opacity, its structure is then a surface sensitive sensory building his vocation. At the flowering time outside the scheme of historical painting, modern painting makes the work to its own temporality and that a spectator. The time is one of the story but that of light.

Abstract painting, removing an identifiable subject, this phenomenon plays contemplative. Only the attributes of color and design are sufficient to generate an emotional area. The perceptual phenomenon alone can be sentimental. The eye is not just a necessary interface for the recognition of the subject for his mental development, it is a sensitive surface to activate the paint. The visual exercise is very different from a system specification that uses the table to remember a story, a literary aspect and the activation of the gaze that before leaving the work lies in its composition all the senses needed to be touched.

To conclude, the classical description and academic remains a fundamental of painting because it allows the viewer to extraction and analysis given in historical context. But from its original modern painting is a dialogue of respect. Communicational impact of the painting is constantly playing with his status and his claim of a liberal art both technically and intellectually. This paradoxical dual nature of painting based principles of the regime contemplative a table. The space of the work generated by its temporality sensorialities physiological, intellectual, moral, voluptuous. A painting is not just a visual object, it naturally has a content that is both one of its surface and that of his speech. The text is the description of this duality.

Oap Costumes For Fancy Dress

described as activating the work

The description of the work as activation

Description: represent, portray by speech or writing.

The speech and accompanying text in its development work and classical humanist painted. The description becomes the means to qualify and to estimate the value of the work. Even before the emergence of art criticism, the text builds a speech highlighting the table. In our series of conferences devoted to the representation of space, time and questioning of the senses, the discourse on the work is an activation. At the conference on temporality, we highlighted the time value of the speech. Indeed, the work of art is a space object which only the activation by the audience gives it a temporal regime. The description of a work is not a trivial matter, beyond thinking about the visual impact that the picture may have, it is to give the painting a regime claiming his intellectual and literary quality liberal.

dialogue between different artistic practices is done mainly in a comparison not merely technical but also visual and discursive. From the fourteenth century, the function "illustrative" of the table with the text as the artist leads the viewer to understand the quality of a fixed figure in the development a story. This conference will try to understand how its composition by the artist in a classical model for developing an iconography linked to a story, offer a song or an excerpt from a story by describing mental. This attachment to a text requires the artist to offer an interpretation.

panel from a marriage chest, representing the story of Camille, illustrates this principle by the recomposition of the narrative description. Indeed, the multiplication of actions of heroin within the same space is Organized by the viewer himself. The narrative quality of a work is generated by its viewers. The artist is the first owner of the narrative but also the viewer can not appropriate the work only through knowledge of history. Faced with religious and devotional paintings we never ask ourselves the question of the representation of narrative and identification. Yet even if the textual knowledge is shared by many, the individual qualities of treatment of the subject show an appropriation of history by one who makes it. Variations or compositional effect, claims an individuality of its director. It can be identified only by comparison and understanding of his audience. The description is to say, a look that is a sufficient distance on the work to understand its qualities can be regarded as a time qualifier of the table and apperceptive.

Individualization of representation is a consequence of the reform and the establishment of a humanistic civilization. The value of the artist is to provide an identifiable image for the greatest number, but whose composition is undoubtedly linked to the hand and mind of one who has done.

At Renaissance, text and image interact not simply a recovery narrative. The development of theoretical treatises on the quality of the painting provides a description of the rational aspect that needs to judge and compare individual and compositional qualities of each work and each artist. For a recognition liberal painting will then talk with poetry. Transformed the maxim of Horace, "Ut Pictura Poesis " will feed a theory of classical painting.

This link painting and poetry is a claim of a liberal art and switches between space and time called in the image. The writing is the source of the visual with the visual description is the source of the writing.

As evidenced by the interest in texts dating to ancient times and providing descriptions of paintings ever seen. One of the most famous is the story of the contest between the painter Zeuxis and Parrhasius. One day, Zeuxis painted grapes so lifelike that birds were deceived and tried to peck. General amazement before the great talent of the painter. But now there Parrhasius secretly added a curtain wall, as if to protect Table of sunlight. Zeuxis, may still be intoxicated by its success, fell into the trap and tried to raise the curtain. Not a chance, he admitted defeat. The birds had only come back to bump the nose, bitter flavor on the surface of the image.

This legend has nurtured over centuries of questions and references. It gives rise to the belief in an ideal of art by painting vraissemblance between reproduction and its model and shows how quickly men like to be a spectator, participant prodigy and commenting. The eye-catching image and text. The Grapes have not crossed the time but the story gave them an eternal character. The painters of the Renaissance fetched legitimacy to the work in the literature. By assimilating the poet, he tries to access a new dignity of an art called liberal, that is to say, performed by a freeman and whose creation was authority, to escape the character looms which the painting was so related. It is, among other things, why the tables "literary" are increasingly in the sixteenth century, enriching the religious background operated in the Middle Ages by exploring the mythological vein. We can then think of this sentence Leonard: "Painting is silent poetry and poetry painting blind ..

should be writing to painting to understand its qualities and that the artist must create a reconciliation with his observer. The principle of reasonableness in this questioning of the natural beauty and ideal allows paint in a theory of imitation to claim an image that is an idealization. This dialogue between the text and the image becomes the spearhead of a classical culture in which the painter if he wants poet must generate a feeling and a relationship to the text. The description assumes then a transposition operation which takes us from the visual order of the register of language. Although it is never objective, it must nevertheless move toward a descriptive effort. This then forced to refine the look and the description, learn to see and make sense of the singular work.

Mantegna Both panels demonstrate that textual culture emerging. Whether in the likelihood of the nature of the Olive Garden, or even in complete artificiality of the summons of Christ sculpture Risen, becomes the order of the visual narrative and narrative then leads the viewer learned to single out the singular to describe its qualities and aspects almost anecdotal. The commentary of the work by the possibility of ekphrasis is understood and developed by the artists themselves in the picture's quality. The composition is intended as a homogenous group who nevertheless bound to the principles of the text is truly dislocated. The commentator becomes mediator between the viewer and image. The text is not simply the expression, it becomes an interpretation. The Plan Description the table is intended as both a mirror of reality control, but also as an evocation of an invention expressed. The artist is not only a technician is primarily an interpreter. For the table may have an impact and raising morale for what he observes, the artist takes as his source of narrative texts with previous historical and moral recognition. The conquest of poetic artistic value than resting on an evocation of the drama and history. The description does not focus simply on a visual exercise resulting from an analysis of visual coding established by the artist, but pointed to the quality of the latter to interpret a story known then having an impact visually memorial. The history of poetry or even become the fundamental sources and a rewarding work that is the reflection of a civilization.

From the Renaissance to the common recognition of a higher value of the painting with the text generates the classical scheme of the work. Imitation, invention, expression or even the convenience of analysis grids become the value of the artist. The history and great stories mythological lie above all other genres, beyond a theory of imitation, the artist calls a dramatic regime where the reader viewer is truly an actor's interpretation.

The description is a surprising and paradoxical marriage between a compositional and visual interpretation of the artist and a visual interpretation of his intellectual and viewer. Commentators whether French or Italian will find the scheme and the idea of perfection in painting.

the seventeenth century to the call for chicks and for the promotion of large painting in France in imitation of the antique, the commentary seeks to define the French artistic values and a beauty ideal. The text and description is then a process of narrative representation in which the discourse feeds reflect aesthetic, a privileged means of knowledge and dissemination of the work of art, from its creation to its reception. The legitimacy of a work is more a collective reception but in a ruling by a few of its value. Theorists of the Royal Academy of Painting and Sculpture will always discuss this issue the description as a grid and need to establish a hierarchy of topics.

This dialogue with the text and literature based on history and retains only poetry. Indeed, the genre seems to be able to generate and sense of narrative. In a development director as its commentator, identification and narrative become stooges of the activity table. Direct or implied comparison of painting with poetry animates and shapes. The painter must not merely imitate nature, it must respond to a doctrine of this quality and this ideal by his invention.

The text becomes a temporality and a grid of reading sought and claimed by the artist himself. When the Royal Academy of paintings and sculptures set up conferences, the commentator of the image is the artist himself. But above all the principle of description emphasizes the logic of detail and reading of the work. The historic plan of the table attached to the principles of representation of the narrative then offers a temporal nature in painting. The comparison with the poetry but also with the narrative texts flourish and style.

The literary description is a reproduction of the painting. The artist from the seventeenth century and was fully aware that approval should be thoroughly familiar. We could speculate that this classical culture and breeding work written or verbal lead artist in search of sensory and intellectual impact. The evocation of grand narratives play in the scheme of Table instructive. The artist must be aware that it implements an object visually describing the story in a moment suspended and resumed his narrative thread in the eye and the commentary that he observes. The text and description are provided to touch the sense that speaking to the intellect.

The pictorial vocabulary becomes a literal vocabulary. When we look at the pieces of receipt of the Royal Academy of Painting and Sculpture, it is evident that his works are always a call for comment and a response to a grid and a plastic doctrine. The latter is as much visual and descriptive. The description and text are real time development and registration in a given time and stylistics. The commentary is the ruling of the work and attempt a recovery and development.

This detailed reading is seen as a composition effect and a visual response to the speech. In the fruits of peace Ryswick Marot, collusion between imitations and inventions are permanent. To open the grenade in the foreground meets the ancient bust of the second. The vocabulary and visual qualities become concrete and physically stooges of the artist. Vocation education and welfare of this table combines the regime of imitation and invention .. The look is meant cultural and classical trying to make paint effects by questioning intellectual. The grid utopian objective can not forget the significant role of painting. The poetics of the painter is to mislead the viewer while seeking to educate through an idealized vocabulary.

Just as the mention of the sculpture, music or even dance, the artists in the eighteenth century to meet quality and universal beauty. The description is their ability to represent the world and to generate a coherent and uplifting.

Even if the description is full of sensitivity and feelings, the flip-flop in a written plan for the reproduction of a painting is meant as an intellectual act reflecting the impact of social and collective work. The artists belong to a cultural orientation. The description remains the preserve of a select few scholars and able to generate and observe the painting as an ideal object. This reference to the ongoing story and history through its sources can give it a drama.

painters belonging to the neoclassical regime will continue this historic picture. All details are in favor of archaeological work referring to the period of the story represented. In the Syracusan who Tymoléon bring strangers, clothing, furniture, staging, and the architecture that serves as a backdrop, are a window into the history and the past. The description is a reflective act and moralizing. It is nevertheless an existence and activation of the table. This attention to narrative and drama does not permit the emancipation of subjects below the story. The description may be considered beyond the intellectual as a way to recreate or reproduce the work by the text. This activation reflects a movement of the gaze and the means of the fragmentation in order to dissect value codes and composition. From the fifteenth century, the work can be described partially or completely naturally becomes a field related to a spatial temporality. The latter can be narrative description of the narrative, or even physical movement of the eye. The paradox is that the original description even if she wants an intellectual act, remains subjective and attached to the eye. We can not cut us off from our sensory and our personal sensitivity regarding the description and comment table. If in a classical regime and academic work, the description becomes an objective grid for linking all works to the same doctrine, the emergence of an individual look and sensitive side to the table then leads artists to reflect on questions of fact, visual impact and communication. The description can not be an objective act because it is fundamentally linked to a subjective perception. Evidenced by the fact that every description is signed by the observer. The flowering time by the text is inexorably linked to a sensory principle. Realizing that artists are from the fifteenth century under the proposed amateur sensitive sensory communication with the work.

Bibliography - Edited by Pascal Dethurens, Write painting Diderot Quignard, citadels & Mazenod, Paris, 2009.

- Rensselear W. Lee, Ut Pictura Poesis, Macula, Paris, 1991.

- The description of the artwork, the classic model to changes in contemporary art history collection of the Academy of France in Rome, Somogy, Paris, 2004.

Nac For Gall Bladder Polyps

painting and sculpture and painting

Painting and Sculpture

Following the painting as an empirical object and the tactile in the development of subject and form, this week we return to the dialogue between the arts. Painting and sculpture both belong to the realm of the academy of arts. Trade, approximation and distance between these two artistic practices reflect an attempt at ranking. This builds on the experience of the work and to convene sensory consistency. Indeed, the sense of touch state many, many times considered superior to that of sight. If the eye can be deceived, the hand is an element of truth. And sculpture presents itself as a practice more likely. The relationship between painting and sculpture led both practices to share and watch what the other does. Academic training crystallize these exchanges within the Royal Academy of paintings and sculptures learning begins by drawing from sculpture.

As part of the lecture series "space, time and sensory" dialogue and exchanges between painting and sculpture reflect research and developments facing the space-time sensory. Too often opposing, both artistic practices are nevertheless closely linked. Whether as a source of inspiration for the painted designs, or as questioning the quality of likelihood of sculpture, that the issue be lit in a certain volume in painting, and its developments in the Western academic culture. This conference will not be back on the many existing developments in the historiography of his trade. This is quite the contrary to observe how the retrieval vocabularies belonging to one of the few areas specifically modified the evolution of the other.

Even before the Renaissance, the dialogue between painting and sculpture is present. In Lorenzo Veneziano, like many Venetian artists, trade with the sculptors are important. Development of a three-dimensional spatiality, the Venetian artist uses a sham, this great piece of gold fabric stretched behind Christ and the Virgin of the central panel. To increase the projection of the holy figures in space of the viewer, it hangs on the carved frame that surrounds the panel. The framework is part of the work, physically projecting element, it reinforces a link between materiality and the painted space and real space. The framework is an element of ornamentation which in Lorenzo becomes a physical element of intercession between the image and the devotee. The three-dimensionality of sculpture and its accessibility Touch can be considered a practical and accessible to the devotees. The use and dialogue between the painter and sculptor makes a strengthening of the intercession of reconciliation between subject and viewer.

This dialogue between painting and sculpture as we find among primitive Touraine. Angels Bueil show a softening of forms and data style of sculpture in Touraine. This development is a result of the same factors established in painting. The work painted as sculptural works are subject to the same stylistic variations. The advent of innovative painting as art can not be done in a dialogue with the sculpture.

At the Renaissance, the desire to get closer to the classical models generates a dependency relationship of painting vis-à-vis the sculpture. Indeed, the only obvious traces in the fifteenth century antiques are items carved. The painter, invited to join the old in composition, is must observe the sculpture, to record his vocabulary to integrate it into its composition. The Risen Christ by Mantegna reflects this recovery. The lame and the torso are just switching from one language into a sculptural pictorial vocabulary. We know that to his torso Mantegna was inspired by a carved work of Donatello. The posture is not an invention of the artist but became a symbol of a vocabulary iconography. This integration of a vocabulary ancient carved painting allows the latter to propose an increase in its nature. Dialogue with the ancient is for the arts in the emergence of a humanistic culture and pre-academic way of working works from nature, that is to say that the beauty of this past period and accuracy of the representation of body. It is amazing to understand so that the resumption of an artistic model for the painter is the way to bring an image considered more natural.

These exchanges between the two artistic practices do not involve a simple discussion of art for art on the contrary to a quality of a renewal of the vocabulary game on a more beautiful and natural. By the testimony of the culture of the artist, the dialogue between sculpture and painting in the Renaissance is a commitment to accuracy and representation of reality. There is a paradox, the artist is closer to a beauty "ideal" must be guided by an artificial model for the viewer to appreciate its natural verisimilitude. The monumentality of the masses and the posture of the Risen Christ supports an iconography of power and relative power. The sculpture, a hangover from ancient times, appears to be unique visual vocabulary that has survived the centuries to come to artists. If the paint is a temporal art sculpture appears to be an eternal art. In reconsidering the status of painting, its rapprochement with the sculpture gives it a superior character.

In Flanders, the dialogue between sculpture and painting is very different. The reconciliation between the two practices is theoretically similar to the Italian foundations. Yet the sources are carved very different. The Gothic architecture and sculpture are the main models of Flemish painters. In the Virgin and Child, the architecture serves as a background figure trefoil openings referring directly a Gothic style. It is the same for this altar where the central panel shows a Madonna and Child enthroned in a huge gothic building.

The debate between painting and sculpture will change with the desire to claim status liberal arts practice. Art wants to be more mental than manual. Painting, video work, seems to correspond better to the vocation of reverie and reflection as sculpture, tactile book. If, as we discussed last week, touch is a stronger likelihood, the work to generate a reflection, a painted figure may be considered superior to a figurative sculpture.

In the Holy Family by Caravaggio, this Christ stripped the entire sculptural pallor is a claim by a certain softness of her flesh of sweetness and sensuality that can cause the paint under the sculpture . The imbalance caused by use of a lame reference to a principle of Mass carved, but painted here by its interpretation, offers a more convincing incarnation and interpretation. The organization of the tight group in this framework without any other information space that the marble plaque on which it is based shows a continuing dialogue between sculpture and painting. Thus grouped, the protagonists all seem physically linked as a bas-relief sculpture, the chiaroscuro effect of reinforcing this protrusion observable in sculpture. The color and vocabulary of painting gives this performance a sense, a dramatic top.

The founding of the Royal Academy of paintings and sculptures in 1648, this debate between the two artistic practices, offers a hypothetical hierarchy. The sculpture is the starting point of any paint job. New dialogue with antiquity through the switch a sculptural vocabulary to a pictorial vocabulary. The artist must even if it is attached to a painted practice to refer to this ancient and the monumentality of sculpture. The reception piece Lycas Hercules throwing overboard of Michelangelo Houasse portrayed in its composition a concentration on the group composed of the two protagonists. This focus on the representation of the body led to artist's sculptural structure. The mass and position of Hercules are obviously from the artist's claim of his knowledge of sculpture. Looking good, we can consider that beyond the few Details of landscape or of fleeing satyr, the table is a transposition Houasse sculptural.

In the reception piece by Jean-Marc Nattier, assisted by Minerva, Perseus petrified Phineus and his companions, we find this same report and the same comparison. Sculptures and bas-reliefs of the ancient architecture of the background matches the soldiers in the foreground. Petrification allows the artist to demonstrate some leadership in the representation of flesh painting. The dialogue here is evident when one observes the body of Phineus. The torso and head are petrified her legs are not. In this game of comparing figuration of the body, Nattier reflects a debate increasingly important to the representation of the incarnation. Petrified soldiers of the left are still those of flesh from the right side. The gray stone match skin tones of dead bodies to living bodies. These variations in color allows the artist to visually show his great technical ability.

representation of the flesh and sensuality that results very quickly becomes an issue of supremacy of painting on sculpture. Table Pygmalion seeing his statue come to life attests. The comparison is done directly by adding a model and sculptured model incarnate. The arm of the statue before the bust of a philosopher frosted his incarnation and demonstrates the ability of painting to animate the body.

For Diderot, the representation of the flesh is the greatest challenge that nature is ever launched in art. That is why the sculpture is decidedly less in his eyes resembling the painting

"is that the material she uses is so cold, if refractory, so impenetrable, but most importantly, c ' is that the main difficulty of imitation is the secret to abolish this area hard and cold, to make the flesh soft and flabby. "Show 1765.

The advent of sensuality and the desire to touch the viewer positions the painting as capable of transmitting the sensuality and the warming of a body in sculpture remains, even if it is accessible to the hand, cold.

The sculpture is still the basic representation of the body, but the painter is a sensuality than the sculptor. The body design remains fundamentally sculptural but treatment color allows it to be embodied

Sylvie fleeing wounded wolf Francois Boucher reflects a diversion of the sculpture for an immediate perception of the painting. While touch does not disappear in the evocation and the material quality of the work, the advent of the unique perspective of painting led to greater demand for sculpture. By observing the boning applied by Francois Boucher in building the body of Sylvie, we understand a principle of "cut and paste" sculptural elements. The right leg Sylvie consists almost to its base torso. The rotation is located in the left leg committed but also the entire upper body seems to evoke the ancient sculpture of the discus thrower. What is surprising is that Sylvia would run, when in fact it turns on itself. By this movement, Francois Boucher seems provide a single body rotation around the sculpture. The primacy of the unique perspective leads the artist has not evoke a physical move but a mental shift. The body in addition to being embodied in painting is reflected spatially deployed in all its facets. While the relationship between painting and sculpture played for a beauty from nature, painting emancipated and claims beyond the color of the ability to generate a point of view better and more encompassing construction of the body.

Concerned about the impact on the viewer, the debates in the eighteenth century suggest a polarity: sculpture, touch, drawing and ancient on the one hand, painting the view, the modern colors and the another. This split due to Roger de Piles had a profound and sustained critical discourse that will develop later. While the academic structure was built on dialogue and a reference of sculpture and painting, in its evocation of modern sensory fundamentally separates the two media.

The neoclassical reconsider this exchange and influence of sculpture and painting. In view of the forum tonight, Josephine Louis Buckwheat Belmont figure if an artist who has a bite block remains a bas-relief still in place on the frieze. This culture is proud of its link to classical antiquity and its ability to integrate it into the paint.

With the Romantics, strengthens the principle of expressive works. This offers a significant share of the emancipation of painting and sculpture through their own characteristics. Where the artist breaks his subject into a patchwork of color perfectly playing a convening of the eye and then the body, the sculptor has instead a set of effects where the dynamics is both visually but also physically returned. And the dynamic color of Eugene Delacroix we can propose the dynamics of these small sculptures Sirocco or else this rider caught in a circular motion which seemed to bend his horse and himself.

The relationship between sculpture and painting, so emancipated from any hierarchy. The sculptor as a painter thinks on the character of his art to offer a more formal structure and expressive. We find this illustrated in the Balzac of Rodin drape. The masses and volumes of tissue surrounding the massive body of the writer gives it an energy all symbolic. Comparing this to the portrait sculpture of the author by Boulanger, we see how the two artists offer an answer to be plastically are sculptural pictorial to the issue of representing the nature of the topic simply by the specific vocabulary. At the key and the brush strokes match baker volumes and projections of the sculpture of Rodin.

the twentieth century, sculpture and painting have become two objects that question the same principle of using a vocabulary material for expression of feelings. Last week we analyzed by touching the two sculptures of the early 60s by Olivier Debre. This week we'll stop briefly on the sculpture by American artist Alexander Calder. The mobile is a material response to immobility usual sculpture. For his leadership and his movement, the work is simply an object around which it spins but really something that comes alive in front of us. Balance and imbalance of his sculptures on the possibility of playing on a perceived immediate and significant shared space where time and sensory immediately convened. If the large canvases by Olivier Debre are an invitation to some introspection by the physical entrapment of the body to the surface of the table, the mobile by Alexander Calder is a more physical confrontation with the work and materials. Surprisingly five centuries after the establishment of a dialogue between a more mental work, painting, and more physical work, sculpture, we understand that despite, tracking and reporting emancipated, sculpture and painting n ' in less retains this fundamental difference between mental and physical.

In this issue dedicated to space weather and the senses, this dialogue and the relationship between painting and sculpture will design a work based on how more and more accessible material, paint demonstrates its superiority in this mental and sensory projection to convene. So by the description and the movement of light on the surface of the work that are generated feelings that the artist can express. That's when the look and description is partly the work. Space and time are consecutive sensoriality.

Unlock User Mailbox Nortel

paint and touch.

"We do not touch the paint! Only with eyes. "This is what can be repeated and heard in the halls of a museum year-round. Yet a close relationship with a reality and a reality suggested by the paint touch is naturally called visually by the painter. Indeed, if the eye makes a first seizure of the real, hand and body which it is attached materializes and makes it accessible. Between the fourteenth and twentieth century history painting touch is played in a thought of convening a reconciliation of pictorial space and real space. Whether the contacts between the various protagonists of a scene, or a claim of materiality pictorial actively involving the viewer, the painting calls the sense of touch to agree a supplementary sensory immersion. Address space and time by the sensory needs to ask a touch of paint. The empirical nature of the playing table on visual impact on the viewer naturally convene the body as an intermediary. By the characters depicted and the viewer, by touching the paint to give and not just to see the performance.

The sense of touch a body set up by his nerve endings, by convening the sense of touch artists promote a projection and an investment body. The contact is the point where two bodies touch. The contact is a possible location and a basic element of spatial development and the likelihood of painting. As part of the conference cycle time and sensory areas, touching testimony a research and a willingness to convene the body in a relationship "real" with the painting. Indeed, if the view is the first spatial reference frame, body and touch is the second.

The incarnation of a straight connection between the divine and the devotee leads to a tactile representation and accessibility of the body appeared. In the Virgin cherry, child outstretched arm seems to catch the fruit that holds his mother in her right hand. Beyond give a child, cherries become an object of lust. The paint must make this convincing gesture of wanting to catch and create a contact.

The Virgin and Child are an iconography of contact between mother and son. Mary represents the terrestrial part of the original incarnation of Jesus. In pressing his mother, this iconography refers directly to the mystery of his incarnation. Embodies the Virgin's intercession with her son and us. Cherries she holds in her hand, are evidence to its terrestrial nature to consider ourselves as we were getting. The body of the saint and offered us. The characteristics perceptible feminization marked hips and breasts budding strengthens accessibility. Virgo is an interface for contacts between the devotee and the child.

The physical contact and communication between the different characters of a religious figure is to construct a network in which the devotee is itself a party. The issue of a devotional iconography is to contact the saints with the devotee. The touchscreen is used to support the relationship between the figures of human nature and divine nature of the figures. If the look and vectorization have a didactic role and directive, touch and physical contact between the saints are the same operation by calling either the visual perception but the projection body in relation to the holy figures.

Another iconography depicting the Virgin and Jesus plays an opposite phenomenon. This is the crowning of the Virgin. The gesture shown to place the crown on the head of Mary is to be suspended. Consecration of the Virgin by his coronation gives it inherently less human and more divine. Achieved by comparing the coronation in Bologna and the crowning of Lorenzo Veneziano, we can understand the aesthetic of contact by the very gesture of the Virgin. By opening its arms on the panel Venetian it demonstrates the acceptance of his coronation. This gesture can be analyzed as a movement to embrace her son. Even if the contact or touch are not figured, gestures can imagine. The relationship between mother and son is becoming closer and more intimate. As observed in previous conference "painting, an empirical object?", The link between mother and son to the Virgin nursing compact and it appears that touch of intimacy in which the child referred to suck the breast of his mother .

This representation of the contact and the physical link uniting mother and son enhances accessibility to the figure of Jesus, but also devotes a portion of the divinity of the figure of Mary. Representing a land link and flesh, it makes the figures available not just visually but in a remote scene in a physically and bodily proximity to the subject. Touch to the period of primitive vocabulary is where the representation is an approximation of the image and the viewer. In convening the incarnation and figures, but also the embodiment and individuality of the viewer, touching testament to this change of image from the Middle Ages and the Renaissance.

The tactile communication between the different characters can define their nature. Eustache Le Sueur at in his painting the Madonna with Child and St. John the Baptist, we can see St. John the Baptist lift and touch the child's leg. This representation reinforces the audit of the incarnation. Indeed, with the representation of touch, the artist include a weight of the flesh. From the iconographic point of view, this "verification" of St. John the Baptist can include validation by the last prophet of the incarnation of the son of God. This supports the approximation and accessibility to the figure of the child for the devotee. The body presented to us is not inaccessible on the contrary, it is actually and fully available visually but tactilely.

If the view is the fundamental meaning of the painting, touch is a vocabulary building and enhancing the accessibility to the figures. For the same period of the seventeenth century, we can stop the sense of touch returned from an engraving of Abraham Bosse. This table shows the bad and the good use of the senses. Let's start with the bad, figured in the foreground, with this young woman on the lap of a man who exchanged a number of hugs. If a religious image accessibility to the body is used to validate the incarnation and make the holy man accessible to spectators, this should not be abused in a picture of a profane body and accessible. Good use is shown by the servant in the background of the composition which affects their sweetness and draperies tactile quality. Touch is important to strengthen the link with reality. But should we still know what is good or bad touch.

In the Holy Family with St. John the Baptist Caravaggio copy after, we see a double set up staging touch. The hand of St. John the Baptist is like arrêteée or tours of the city by that of Joseph. St. John the Baptist figure through between the Holy Family and we'll put in physical contact with Joseph. Our movement within the party up until the child is then passed through a devotional path hierarchy. By contact we move from St. John the Baptist to Joseph, Mary Joseph and Mary to the child. Caravaggio still uses the principle of touch as a means to make available the figures represented. But with the chiaroscuro and the attention to colors and textures of the drapery, it seems that the touch is not just called religiously. The pictorial material by its thickening, and its establishment as defined significant attractions Tactile devoid of religiosity. The representation of the material calls the sense of touch by visual perception as an added pleasure to the eye and brought to the body.

Again this scale the receipt of the artwork of a regime sympathetic to a regime pleasant led artists to develop a call by the body not merely religious but sensory.

In Dutch still lifes, this principle of rendering the material in a sham as well as physical visual artists led to increasingly develop the concept of a bodily felt by the visual. Cheese still life reflects this research and the confrontation of different textures and surface, expected to generate in the beholder a feeling physically. Fisheries, like grapes or oranges yet both refer to the experience and knowledge of these fruits and the viewer who finds what he could visually tactile experience. The sense of touch is not direct, he is remembered. Like the previous conference posed the question of painting as an empirical object, that is to say not related to the theory but in experience, meaning touch through the depiction of still life is actually called by the experience of those who observe the work. Away from religious themes, paint offers a feeling and bodily empirical s projections. The sense of touch is "stroked" by the artist who plays his virtuosity represent external nature and tactile objects to allow the viewer to call his body and his experiences as a sensitive interface further observation. The sensory pleasure of a painting is not just visual, it becomes the structure of the touch element Summoning all body.

The painters of the eighteenth go through the key, look for the hue distribution of the sensible. The drawing contains the form, allows the visual identification of the object. But painting plays on the texture. The artificiality of the subject is never rejected. The pictorial surface is tactile. Brush strokes of Charles de la Fosse or alternatively the material effects of the portrait of Nicolas de Largilliere are evidence of an embodiment of the touch but no longer remembered claimed by the tactile quality of the pigment, the binder and its implementation. The smoothness of skin texture, the thickness of a pile games that are ready to look for pleasure from observing the painting. The pleasure and the sharing of sensitive are summoned by the painter, not just a transparency, but opacity. The amateur in his quest for a sensory pleasure, is pleased with the painting as an area where touch is activated directly convened. The contact of the brush on the surface of the canvas shows the trace of the painter. The aesthetics of touch materializes as evidence of creative activity. The viewer will be confronted by its sensitivity to the activation of the surface. François Boucher's paintings show the material in its thickness and its ability significantly. The viewer's body is not projected just mentally but physically confronts the paint, color, contact. This rocking sensory convene more body and thereby touch. Even if the relationship is not physical, impasto observable evidence of a breach of the likelihood will increase the physical impact on the viewer.

The feeling and sentiment driven by an empirical principle, questions the work of art in the physical relationship it creates with its viewer. That sharing of sensitive work which is the interface becomes a matter of development of modern painting in the nineteenth century. The realization of the vision and its realization led the pictorial object to become a sensory and tactile experience.

Eugene Delacroix in his painting of 1848 comedians or clowns Arab has a thick material, claiming its opacity and especially having a uniform treatment to all of its surface. The eye is of course the target organ, we have already extensively discussed at previous conferences. But these coatings and thicknesses become the object of close observation. We could give an idea: remote viewer perceives only the subject and composition. While approaching the table becomes accessible to the hand and surprisingly the key and the painted structure become tactile. In a position identical to that of the painter, the viewer is in itself a purely manual is almost touch with paint. At your fingertips, the table is a purely tactile surface and decomposed.

We find this same principle among the Impressionists, the key it is even more strongly marked. Claiming a gesture and a contact between their hands, brush, paint and canvas, This fragmentation reinforces the fundamentally tactile aspect. The surface of the work irregular, chaotic dialogue with the viewer in a table that pretends the impression surface and attracts almost hand to touch him. The senses and touch such a composition more than it materializes the abstract subject of painting itself. The eye is the target organ, but the hand is a necessary intermediate. The key reflects the painter's gesture, and almost invites the viewer's gesture.

The tactile feel of the table is no longer attached to its subject but its subject matter. When observes the great paintings by Olivier Debre, we can truly be affected by aspects of gloss and matte painting. The impacts of the material creates a projection of the volumes. Once again these pictures are eye exercises. The eye is the central organ of lyricism and expression. But when the painter's body is convened, that the scale of the table is that of its director, the hand and touch are never omitted or excluded. The painting entitled Great gray of 1959 demonstrates perfectly this gesture and the impact of this contact between the hand and the surface. As a response to this tactile sculptures signs Characters the early 60 shows the impact of the fingers of Olivier Debre and invites the spectator's hand to repeat the gesture of the creator.

Painting remains fundamentally manual though it wants to make an intellectual object. The touch is always present. It is simply meant or represented concretely, touch is a necessity for painting, because it allows the body to convene and therefore real.

To match the space-time by the senses, the painting invites naturally interfere with the exercise of his visual observation. How many texts describing tables are delighted that bloom in order to achieve drapes that seem softer than each other. In a representation of the weighting, the weight and gravity, touch is basically the meaning convened. Its activation changes as and when developments in painting but also its reception. For artists the successful painting may be that while making the reality of its surface is a concrete observation and its quality. We do not touch a table with his hands. Why is it so hard at times to hold back, because the hand and touch are always invited by the painter in this sensory experience of painting.