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.
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