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.
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