Art
The art (of the Latin "skill, craft, technical knowledge" , "an object of art, by definition, is being recognized as such by a group. This is why the products and artistic practice, or rather the collection of these objects may be classified differently in different cultures, authors and institutions.
Since the late eighteenth century and until now, the art includes mainly products of the " fine arts "such as sculpture , the painting , the music , the dance and poetry (and thus the literature ), which are frequently added the kitchen , the film , the etching , the theater , the photography , the comic , the TV or the digital art. The classification of the arts is not universal except for the 7th art (film) which had a particular success, a unanimous classification seems impossible or no interest .
In Europe, the conception of art as autonomous activity, as output by artists of items that we agree to find fine following a decision of taste , stimulating the senses or producing a form of knowledge and truth, date between the eighteenth and nineteenth centuries. In the modern art and contemporary art , we abandon the notion of beauty or style timeless art to show in a creation of humans, producing something new with which identifies a time .
Summary |
History of the concept of art: what is art?
At least since antiquity, the philosophy questions the nature of art.
Plato in the Ion and Hippias Major or Aristotle in the Poetics wonder about art as beautiful. However, aesthetics may differ significantly from the ancient aesthetic post and the word Greek (techne), which is the nearest equivalent of French art, refers to the ancient Greeks all activities subject to certain rules. It therefore encompasses both knowledge, arts and crafts. The muses are not all Greek related to the arts to be defined later and poetry , for example, is not a "techne".
The Roman civilization does not distinguish clearly the domain of art and knowledge of the trades that Cicero and Quintilian will have contributed their thoughts. Thus, in Galen , the term "art" means a set of processes for producing a certain result:
In this sense of the word, which prevailed until the late Middle Ages , art objects to both the science conceived as pure knowledge, application-independent, and the kind that produces without thinking . To the idea of production rule is added the consideration of the effort involved in this activity. When the word is used, it is usually an epithet attached to the precise form of words such as " liberal arts "," mechanical arts "," military art ", etc.. And if sometimes the liberal arts are covered by the unqualified use of the word "ars", we are still far from the contemporary sense, the astronomy was a "liberal art", while the spectacle of "theatrics" remained a "mechanical art" .
Until the Renaissance , there is no precise difference between the artist and the craftsman : is called "artist" a craftsman whose production is of exceptional quality. The difference will start to become clearer that when artists start to emancipate themselves from corporations to pledge allegiance to the academies and the noble order . Then the now familiar sense of the word "art" begins to emerge: Not only are many techniques separate from, but again, after the discovery of the rules of perspective , the visual will take an important growing.
It's the Age of Enlightenment that the idea of art date now generally accepted. Starting from a reflection on the sense and taste, a design based on the idea of beauty finally settled. With Immanuel Kant , the aesthetic acquires its sense of a theory of art which the Romantic movement give examples paradigm. The importance of observing rules then passes into the background while the artist's intention, which affects our senses and our emotions, becomes paramount.
But the twentieth century , through its practices and ideologies , calls into question everything that had been upheld in the previous century. He objects in particular the existence of an essence of art that is found throughout the ages and civilizations, and thus the dream of a universal definition. It also highlights the sometimes ambiguous relationship between "beauty" and "art", for example when the artwork is the nature of how scary or repulsive .
That is why the European discourse on contemporary art involves a risk of anachronism insofar, as discourse, art implies an intention that does not necessarily exist in other times or in other places. The Prehistoric Art by instance, refers to artistic elements such as paintings or sculptures , but no text does not specify whether these were intended for contemplation, ritual celebrations or other uses. In some cultures (eg Indian or Chinese ), such laws exist, but it is unclear to what extent the concepts used, including those translated into French by the words "fair" or " beautiful "are recognizable to those used in the West . The introduction of an assumption of art unconscious or involuntary may help overcome such difficulties.
It often gives more or less complete lists of constituent fields of art, noting that only after Wittgenstein called "family resemblances": art becomes a set of practices and outcomes that share a number of features, although none of them is universal .
The list of classical arts , as proposed in the nineteenth century by Hegel in Aesthetics and philosophy of art , however, continues to serve as a reference : It indicates that the major arts are five in number: architecture , sculpture , painting , literature , music. From them, by combination or by extension, we arrive at a more comprehensive list that may include for example the dance , the cinema (often called the "seventh art"), the comic , the opera , the photography , etc..
Art History
The different conceptions of art and challenges to address it in its entirety affect the designs of its history.
In its most classic design, history of art has been incorporated in the nineteenth century by adopting without question the progressiveness and valuations of his time. In this context naturalist, which sees art as a constant in human, she described instances that reveal the "essence" of art through the ages.
The anthropology of art is such a social science that seeks to explore the pictorial and plastic productions of human societies 'traditional', "without writing" or "primitive."
But this assumption of autonomy and artistic phenomena intelligible in their development has been gradually abandoned in favor of a much more social and contextualist. As noted by Antoine Hennion , "The method of sociology of art and the history of art are opposed to each other, "the former tends to eliminate the second try instead thicken . In this context, the history of art can obviously be built by taking into account the developments of the concept of art and is therefore constantly rebuilding.
Another difficulty is the fact that recount the evolution of the art requires to make combinations, most often by geographical areas and historical periods. Yet the relevance of such boundaries is always relative: when, for example, separating the Late Antiquity the Middle Ages ? Must present the art of Ptolemaic Egypt alongside that of the ancient Greeks ? Or, if we agree to consider poetry as an art, or does it not present the poems of Leopold Sedar Senghor on the side of African art?
Consequences of these differences, disputes about the classification of the arts are numerous in the history of art and the aesthetic. Claude Roy sums up the concept of pluralism in art, yet the size of which religious symbolism is still central
Prehistory
If one believes that art is to build, carve, to make ornaments, the existence of a prehistoric art seems indisputable. However, if we see in art a kind of luxury for museums and exhibitions, it is likely that the first people there have never thought . Finally, if we consider, more generally, that art is to speak to the senses and emotions of those who are the spectators, it is difficult not to classify artists authors of a number prehistoric production, such as the famous frescoes of Lascaux.
What was the exact function of the sculptures and paintings made by these artists? We do not know with certainty, even if the assumptions of functions ritual , magic , symbolic or education have often been considered. The work of the artist would have probably been referred as the first effective "practice", without excluding a certain research design .
Africa
The Africa has a host of local arts that reflect a wide variety of cultures that continue to evolve over time. These creations were considered true works of art mostly from the early twentieth century , particularly under the influence of painters Cubist. The discovery of this art has so greatly influenced the art modern Western .
Today, most African works belong to private collectors because in the past, museums have neglected this art. Since then, ratings for authentic antiques have soared , and UNESCO has come to ban since the early 1990s, the export of masks and statues outside Africa .
The wooden mask, which is most often a spirit has long been regarded as the typical object that symbolized the best of African art. But gradually other forms have come to light and in 1966 led to the first World Festival of Negro Arts in Dakar, showing the world the richness of African art, with artists like Ousman Sow , Assane N'Noye , Paul Ahyi or Ashira Olatunde .
Since 1989 , a biennial of contemporary African art is regularly held in Dakar .
Asia
The example of the Asian continent shows the difficulties of establishing classifications of art history based on continents and historical periods.
How to apply with consistency and as wide a range as diverse as that which meets:
- religious contexts: the Buddhist art , the Arts of Islam
- Geographic sets: the Chinese Art , the Art of Japan , the Tibetan Art , the Art of the Indian world , the Persian Art
and many others ...
And besides, the Arts of Islam are they not also African? The Buddhist Art Is not today also happened in Europe?
America
The culture Olmec , between 1200 BC. BC and 400 BC. AD , first of the great civilizations of Mesoamerica , is particularly known for its rich iconography and technical quality of his art, which was a landmark and a legacy for all crops later. The Olmec art is characterized by a mastery of carving and chiseling. The artists Olmec were developing their art in clay , the stone and wood and a few paintings rock.
The Mayan art developed during the Preclassic period (2000 BC to 250 AD -. C) , , during the Period I and II. He received the influences of civilization Olmec. Other civilizations Mesoamerican , including Teotihuacan and the Toltecs , affected to the and reached its peak during the period of classical civilization or Period III (around 200 to 900 AD). The Mayans are famous for their use of jade , the obsidian and stucco.
The Aztec craftsmen (1300-1519) excelled in the art of stone mask, inherited from the Toltecs, whom they held a funeral or religious use. They wore paint the walls of their temples and palaces.
The Native American Art is the art form native to North America. None of the indigenous languages of North America has, it seems, the word corresponding to the Western concept of art. However, objects created by its artists are now considered works of art in itself.
Europe
Antiquity
Although it is geographically situated in Africa, the Art of Ancient Egypt , born there about five thousand years, is one of the main sources of art in Europe. It combines strict geometric regularity and keen observation of nature. His works were not intended to be admired by the living. They were placed in tombs of kings, then gradually in those characters of minor social importance to assist the souls of the dead to stay alive .
But European art also owes much to the art of ancient Greece. In its early days, around the tenth century BC. AD , it is extremely simple and geometric. Subsequently, it draws heavily on the rules established by Egyptian art, including painting and sculpture.
Around the sixth century BC. BC occurred a revolution in Art: Artists are beginning to overcome the rules of Egyptian art, which required to represent each part of a package (of a human body for example) in his corner more recognizable, sometimes at the cost of positions of all implausible. Dispensing with these rules, they can represent a foot in front or hide an arm on a character shown in profile: their paintings and sculptures become less stereotypical, more natural .
Towards the end of the sixth century BC. BC, Greek artists were still simple artisans, but a public becoming more interested in their works. Comparing the merits of different schools of art, masters of different cities. Some of them, as Praxiteles become extremely famous. A little later comes another evolution: whereas previously the artists were trying to avoid giving expression to their faces too precise, it starts to make them express feelings and the reign of Alexander the Great saw the appearance of an art of portrait that the art of ancient Rome take up and develop more.
Middle Ages
The Medieval art covers a wide time and place, over a thousand years of art history in Europe , the Middle East and North Africa. This includes many art movements and periods, national or regional art, genres, revivals, craft artists, and artists themselves. and the book or is it Art historians classify the medieval periods and movements in the main, relationships between these periods are sometimes more subtle. These are the Celtic Arts , the Early Christian Art , the Art of migration , the art Pre-Romanesque and Romanesque , the Gothic art and Byzantine art. In addition, each "nation" or culture in the Middle Ages had its own artistic style and they have an individual existence, as the Anglo-Saxon Art , Art and Islamic Art Viking (eg Great Mosque Kairouan whose present appearance dates mainly from the ninth century, is among the masterpieces of art of the early centuries of Islam ).
Medieval art includes many techniques such as mosaic and sculpture.
The vast majority of art that has survived from that period falls within the domain of religious and refers to a framework that incorporates both a thought theological or cosmological and functions strictly liturgical. In this strictly religious aspect, it should also add a dimension of social or civic. Thus, a work can be studied and understood in these aspects: content properly theological speak often by choice from the iconological or creators, and a ceremonial or liturgical function that will be a real physical constraint of the work , sometimes defining its shape, structure or its dimensions, a public exaltation of the sponsor, donor or recipient.
Modern Era
For historians, the modern era - it is sometimes called the "Modern Times" - covers the historical period that begins with the late Middle Ages. French historians make it end with the French Revolution. This agreement specifically French will not be used in this chapter, in which preferred to use the International Convention that ended the modern era 75 years before present.
We usually start the Renaissance art in Italy in the fifteenth century . Being rediscovered and it greatly improves perspective. We develop the technique of oil painting. While in medieval artistic creation was essentially turned to God and the Christian religion is the man that the artistic Renaissance square in the center of its concerns. For the first time, art enters the private sphere: the works are not only controlled by religious or secular power , they enter the town houses . The baroque architecture uses more curves and scrolls, she launched into the grandiose, as in the case of the Palace of Versailles to be imitated throughout Europe. The painting uses more color and light. The music of this emerging era of opera. The movement reached its apogee in Catholic Europe of the 1700s .
In the course of the eighteenth century , first in England , one begins to question the habits of classicism. Some connoisseurs seeking to distinguish themselves from others, are looking for originality, especially in the field of architecture that seeks new inspiration until about China and art Gothic. At the end of the century and the beginning of the next, the romantic attempt to rehabilitate the opposite sense to reason artists like Turner evoke, through their representations of nature, the emotions of man against the powers that the exceed .
The rejection of tradition gave birth to many movements, each of which is adorned like a flag of a new name in "-ism" ( realism , naturalism , impressionism , symbolism , ...). It also means a greater complexity of relationships between artists and buyers of works of art: The artist no longer wishes to necessarily adapt to the tastes of its customers. If he does, he sometimes seems to make humiliating concessions. But he prefers working in splendid isolation, it risks being reduced to poverty . Soon some artists come to regard themselves as belonging to a different species and display them with vigor and disregard of the conventions of respectability. In the nineteenth century , the gulf is widening between successful artists and nonconformists, who were especially appreciated after their death .
The Modern Art is born in the late nineteenth century and early twentieth century. He sees painting shows the figures of Picasso , Matisse , Miro , Max Ernst and many movements like surrealism , the Oulipo , the New Wave. Some architects like Frank Lloyd Wright dare focus on organization of material to the decorative facades and abandoned the dogma of symmetry .
In France, with modernity, the painters loose gradually System salons and the influence of the bourgeoisie. The major contemporary collectors, the galleries and reviews play an important role. The art market is becoming.
Marcel Duchamp is the objector founder of conceptual art. It does not relate more to its precursors that his intention is to establish an art object. What he seeks instead is out of art. Yet the readymades of Duchamp (which is the designer) and kinetic objects bring a new dimension to the aesthetic awareness and an immense contribution to the historiography of modern sculpture, much against his will .
In the field of painting, a decisive step was taken in 1910 when Kandinsky dares to abstract art , which does not represent subjects and objects of the natural world, real or imaginary, but only shapes and colors for them themselves.
At that time, even when they do not give up so drastically to the representation of a subject, many artists feel that what counts in art is, first form, the subject does come in second . They are in constant search of novelty. With surrealism , they even try to create something more real than reality itself , trying to reach a "higher reality".
Contemporary Period
The closer you get to our age and it becomes more difficult , in the midst of passing fads, distinguished achievements who, through their influence within the history of art . A few lines of the art of modern times , however, seem to be drawn.
In painting from the 1950s , some artists are focusing their research on the physical act of painting and produce abstract works in painting, dripping or throwing of color on the canvas. The structure of the table then follows from the intuition of the artist but also a variety of behaviors of the color (coulures. ..). Painting is now displayed as a time of reckless and impulsive life and work is a testimony of the living body in action and movement in the moment. This movement is called tachism , abstract expressionism or action painting in the United States. The American Jackson Pollock will be particularly noted for this technique. It is reminiscent of Chinese calligraphy in his search for a rapid and spontaneous outpouring .
Many contemporary artists are fascinated by the effects of " texture "and renounce the use of painting for other subjects, in productions that are sometimes half way of painting and sculpture. The Op Art , especially with Vasarely , pays particular attention to the interplay of shapes and colors to produce feelings of relief or motion . Closer to home again in the 1960s , the pop art uses symbols popular and takes into account the influence of advertising , magazines, comic books and television in consumer societies. By industrial processes, it calls into question the principle of uniqueness of a work of art. And Andy Warhol reproduced his hundreds, even thousands.
More generally, contemporary art is crossed by the concepts and themes that stir the contemporary society: the dematerialization of the work ( Yves Klein ), deep ecology ( Hundertwasser ), the visual propaganda and advertising ( Warhol ) Business artwork or vice versa ( Hybert ), the fascination with the technological revolution and bio-technologies ( Eduardo Kac ), cosmetic surgery and body re-creation of oneself ( Orlan ).
However, the race to the novelty and triumph of modernism led the Mavericks to a contradiction: "Must be non-conformist like everyone else? " This may explain why we are seeing since the late 1970's to a return of figurative and the emergence of a different attitude, more than one (yet) new style, sometimes called post- modernism.
Jean Prouve (1901-1984), is an architect and a French self-taught designer. During the 1930s, he collaborated with the architectural firm headed by Marcel Lods and Eugene Beaudouin for buildings as forerunners of modern architecture in France: the city of La Muette at Drancy or House of the People in Clichy. Also director of furniture, its achievements "sculptures in space daily" - chairs, beds Antony, libraries, offices Compass - are exemplary and are now among the highest rated of the twentieth century (an armchair Kangaroo has sold 152 449 , a library can be worth up to 160 000.)
The sculptor Remus Botarro (born in 1946 in Romania), he worked in Vienna and Paris. Author of several public buildings in capital cities in Europe, it is also the inventor of the concept to which he gave the name "Habitat of the Future" concept Botarro is to transform the building space occupied by a work art unique in its creation, in harmony and close relationship with its occupant, giving it an exceptional value.
Oceania
The art of Oceania includes productions, old and contemporary peoples of Melanesia , of Micronesia , of Polynesia , as well as those of traditional peoples of Australia and New Zealand and other islands of the Pacific. However, we do not fall into this category of the artist from Australia and New Zealand of Western origin .
His story begins when the first wave of migrants came from Southeast Asia , settled in Australia and New Guinea, there are probably about 50,000 years. The oldest works of art that have found them are figures of stone mortars and pestles adorned with zoomorphic motifs mixed with anthropomorphic figures .
Around 1500 BC the civilization appears Lapita (the name of an archaeological site in New Caledonia ) . This is an original civilization, especially for its pottery decorations, which seems to have appeared on the Bismarck Islands , north-eastern New Guinea. It is associated with people Austronesian who would win the Oceania distant from the nearby ocean , the origin of the Oceanic language group. Hundreds of Lapita archaeological sites were found in an area ranging from New Guinea to Samoa (Bismarck Archipelago, Solomon Islands, Vanuatu, New Caledonia, Fiji, Tonga, Samoa, Wallis and Futuna).
In each island, this culture has adapted to its particular environment and has seen its own evolution, but it has not lost its unity. All the Pacific islands has retained a certain cultural homogeneity .
In Australia
Aborigines are outstanding painters, bark on the northern Northwest Territories , on fabric and canvas in the middle of the desert. Now recognized as fine arts, as well as being utilitarian and decorative, it is believed the Australian Indigenous art is the oldest continuous tradition of art in the world. The earliest examples of the expression artitistic place over 30,000 years .
There are three regional models of Australian Aboriginal Art. First: geometric figures etched, such as circles, concentric circles, arcs, animal tracks and points - in central Australia , in Tasmania , the Kimberley and Victoria. The second model is simple figurative silhouettes painted or carved, which are found in Queensland. The third form is the complex figurative paintings, such as the art X-ray , which shows the internal organs of humans and animals. These are common in the region of Arnhem Land .
The drawings and figures they paint all have a special significance related to the mythology of dreams and can be assimilated to a form of writing. With the exception of cave paintings, most Aborigines were ephemeral works: body painting, sand drawings, paintings ground vegetation.
From the years 1970 , Aborigines have addressed the acrylic paint on canvas. Indigenous works often evoke the Dreamtime that tells the myth of Creation according to their culture. This art movement - the Western Desert Art Movement - has become one of the art movements of the most significant of the 20th century . In 2007 , the picture of Emily Kame Kngwarreye , Earth's Creation sold for the equivalent of 671,000 euros.
Examples of rock art can be found in public parks even in major cities: as the National Park Ku-ring-gay Chase in Sydney. National Parks, Uluru-Kata Tjuta and Kakadu in the Northern Territory , are ranked on the list of UNESCO as cultural heritage and have a history of technology and behavior illustrated by paintings , , .
Australia has produced many notable artists from western and indigenous traditions since 1788. The sacredness of the earth is a common theme found in the two stories of art. The origins of Western Australian art are often associated with the Heidelberg school years 1880-1890. Artists such as Arthur Streeton , Frederick McCubbin and Tom Roberts have attempted to give a truer picture of the light in Australia. Australia has had a significant school of painting in the early days of European settlement and has internationally renowned painters: one can cite: the Surrealism of Sidney Nolan , Arthur Boyd and Russell Drysdale ; the forefront of Brett Whiteley ; painters / sculptors William Dobell and Norman Lindsay , the landscape painters of Albert Namatjira and Lloyd Rees , and the modern photographer Max Dupain. Everyone has helped define the character of the Australian visual arts .
The Philosophy of Art
The classical theories: the aesthetics
The philosophy of art means both the nearly constant interest for philosophers of art since antiquity and discipline more or less designed to be autonomous from the late eighteenth century . For the historian of philosophy Michel Blay, there are two possible approaches to the philosophy of art. On the one hand it covers the whole body of philosophical texts, from ancient Greece, addressing the question of aesthetics (from Plato to Kant , in short), and secondly it is the discipline was born with Schelling the early nineteenth century.
The contribution of antiquity revolves around the notion of "mimesis," with Plato in Sophist, and especially with Aristotle in his Poetics. The mimesis is in his art to represent reality; Art would be depicted and the Beautiful. However, it is with the shelving of the concept of mimesis as "the first theory of art as a work of genius emerges in Kant." In addition to distinguishing the different arts, Kant moves the principle of the intimate artistry poleward of receiving, assimilating the aesthetic idea as an expression of the understanding and imagination.
In his course on Philosophy of Art (1802-1803), Schelling rejects the name of aesthetics and announced that one philosophy is able to develop a "true science of art." Another big name on the philosophy of art is that of Hegel , who in his Aesthetic (1828-1829) shows that the purpose of this discipline is the Fair and Art, understood as distinct from religion and philosophy. The modern period is dominated by two major currents . The first, represented by Adorno raises the question of the autonomy of art, especially vis--vis the social. Theodor W. Adorno , heir to the thought of Karl Marx , concludes that without the social art can not exist. The second stream is that of analytic aesthetics. It poses the problem of defining art. The uses of the word are analyzed by Ludwig Wittgenstein while functioning as its practice is considered by Nelson Goodman.
The early eighteenth century saw the emergence of an awareness of art, like the previous century had shown the subject's consciousness. Born of modern philosophy, aesthetics is a philosophical discipline that despite his attempts did not emancipated science of art. Only for simplicity we agree that aesthetics ( philosophy of meaning and art) is a reflection on art, because the object of such reflection is not given advance. In fact it is the artistic practices themselves that have become reflexive and nowadays it is hardly possible to separate the work of art discourse that underpins it: "aesthetic" and "artistic" are two adjectives almost interchangeable . According to his idea of beauty provided an opportunity for knowledge to achieve noticeable for its perfect accomplishment: an art of beauty was the equivalent of the theory built on causation. A mediation was effected by this third term, "beauty", introduced between art and aesthetics.
Just like the modern look was exercised to discover some primitive art, aesthetics precursors found in ancient authors. For example, the dialogue Plato Hippias Major has traditionally carried the subtitle From the beauty and became a canonical text of aesthetics. So it is hardly surprising to find that he anticipates some issues still being debated today. The outcomes of non-European civilizations may also be subjected to such a reading and this way we reconstruct also, for example, Chinese or Indian aesthetics.
As long as we conceive of art as a regulated activity, the need for a system to judge its results was not done feel. Only in retrospect that the various arts poetry written since antiquity have become representative of a normative aesthetics. The Quarrel of Ancients and the Moderns shows that in fact the conventional norms or rules was well received. The first draft of aesthetics was an attempt to naturalize the art and the temptation is still alive.
It is in Kant that one must compromise solution which, in one form or another, is underway. According to his original idea, "Genius is the innate disposition of the spirit by which nature gives the rule to art. " . If beauty, or rather the idea of beauty, timeless and universally valid, binding the art discourse is concerned, innovation (artistic or aesthetic) is problematic. Accept the emergence of geniuses, defined by their "natural talent", opening the way for change, art is an activity subject to certain rules, but these may change. The aesthetic was reduced by Baumgarten to the perception grows on trial charged.
This ruling does not, however, is based on concepts defined. The "Beautiful" is no universal concept. This means basically that's the brilliant work that gives new insights on the "Beautiful". The beautiful work is not reducible to a concept, but is an aesthetic idea, which suggests, but is inexponible transcends understanding. Kant interprets the aesthetic feeling as the result of a report inconceptualisable between our faculties, intuition, imagination and reason. This means that the "Beautiful" is rooted in the profound unity of the human person, in which experience can not access. In addition, and criticized Hegel, Kant gives a primacy of "Beau" Beautiful on the natural art. Or rather, human ingenuity is part of nature. Finally Kant does not summarize the value of a work of art with beauty alone, since it develops an analytic of the sublime. This is sublime beyond human imagination, and thereby creates a reaction of intelligence as the human will. As large or powerful as a fact of nature, we go beyond the idea of infinity, and especially our moral resolve.
Kantian approach one can derive much of views and artistic practices later. Note particularly the idiosyncrasies of those a part of society accepts as great artists, conceived as an act of transgression or aesthetic manifestos and other programs through which the modern art movements assert .
This approach by introducing a third term, beauty, engineering, culture or another, between what we call "art" and what is called "aesthetic" succeeds at most delay the problem because every time comes the question, what is beauty, engineering or culture? How does one agrees on the validity of the answer? What art offers works in aesthetics or aesthetics circumscribes the field of art, there is a circularity that is difficult to avoid without recourse to historical and social dimensions of these phenomena.
Modern theories of art
Without the distinction is clear, it is arguable that the theories of art dealing with this subject in a more general aesthetics. For example, a sociological theory of art has been proposed by Pierre Bourdieu , a semiotic theory by Nelson Goodman , etc.. The same author has sometimes both approaches such as Hegel believes that the aesthetic in a special course while his philosophy says that art is a form of loss .
The unfinished project of Theodor W. Adorno was published under the title Aesthetic Theory. One point of distinction is useful to note that aesthetics can be normative, that a theory can not be. The enigma of art, which is his own, has become as its object of study in modern times:
"All works of art, and art in general are enigmas. The fact that the works say something and at the same time hiding, place the enigmatic character in the aspect of language. (...) The typical example of this is that, before all the other arts, music, which is both mystery and something very obvious. There is not solved, it is only to decipher its structure. But the enigmatic character is not the last word works on the contrary, any authentic work also offers the solution of his insoluble enigma . "
The only point on which the theories of art agree that it is a fact of human and social practice. Two main alternatives are possible depending on whether the practice gives a subordinate or autonomous. Consider the subordination is a reductionist approach, it usually offers a view of art as communication - representation or expression. In autonomy, which is compared to that of games, art offers itself as "autotelic activity, that is to say no goal other than itself, which summarizes the famous formula of" Art for art. " Artists and those that revolve around art have good reasons to defend this type of designs and theoretical strategies often use one of two opposing options: return to an ontology own - the art is linked to the specific aspect of being - or, paradoxically, be nominalist insisting that there are works of art but not "art" . Reductionism, mainly from other media, it is generally held by hype that comes with these views of bounds.
For Guy Debord capitalist consumer society has become in the twentieth century society of advertising, image and representation he calls the society of the spectacle. The artist has a special role: it can either contribute to the infinite proliferation of new images and alienating, is actively perpetuating the model, or lie in door-to-fake an attitude critical.
One form of interaction and exchange
Today art establishes a relationship that can encompass in a single interaction, in one exchange, a work, its creator and the receiver, the receiver of this work (viewer, listener, etc..) . The different forms which may be realized that certain relations mediation between man and nature , that is to say, between a human mind and its environment. A thought both conscious and unconscious, individual and collective, a free spirit, imaginative communicates with the world outside. Hegel in his lectures on aesthetics , attempted to define the transcendence of this relationship by asking a priori, that: "Artistic beauty is more than the beautiful in nature , emerges when the artistic experience becomes a relatio No special. So art does he seeks not to imitate or reproduce, but to translate a meta-sensible reality. It can then tease the spiritual in the field of common experience.
The dynamic shape as sensitive
In art at least, the form is not a principle foreign content, and that would be printed out, but the law of its development, become transparent. It is not thought by the viewer, which would mean it is about the concept, and therefore foreign to the collection itself, it does not give to see.
Paul Valery could write that "the architecture is beautiful plant. The growth law must feel. Similarly, the law of gently opening. - A window should not be a hole as a crankshaft in a board, but being as the result of domestic legislation, as the mucosa and shaped orifices. "
Before being transcribed into notation, the melody is the same as deployment of sound operation of certain unsuspected possibilities of this material. The color does not fill the space Impressionist, but is vibration. Poetry is not to impose a meaning to the language pre-set or to produce rhymes. Rather, it leaves the floor to the words themselves, as if it was the speech of anyone. These reveal an inherent one-dimensional motion sensitive world. Art gives to see how sensitive engendered: the painter's gaze asks the light, shadows, color "What are they doing to make there suddenly something and that thing? "(The eye and mind, Maurice Merleau-Ponty ).
Major themes of reflection on art
Art and Nature
The Card Players 1892-95
Art does not just copy nature. However, it does not distract her, but goes back to the source. In the painting of Cezanne , says Merleau-Ponty , it is never about the color as a simulacrum of the colors of nature, but the dimension of color, where our brain and the universe meet. The artist is sensual, he likes to take the personality, the face of things and materials, as the small piece of yellow wall talking about Proust about Vermeer.
Precisely because the still life is not the apple, but the representation of the apple for the first time I can see it instead of thinking or the crunch, consider his appearance, not its essence or its usefulness. In this sense that art derealizes its purpose, as outlined Sartre Arts and representations The concept of " representation "depends on the question that arises at the beginning of the problem and the beginning of art itself before prehistory during the Cretaceous is of particular significance if one wants to grasp the meaning the artwork , and its relationship to beauty. The work of art is a form of "re-presentation", that is to say it has otherwise the reality of the universe. The work of art does not live his report more or less adequate to reality, but the affects it produces, for example, the paintings of Munch does not represent a form of sadness, but produce a feeling, an emotion, which called for some sadness, for other abomination. That may be because she is a producer of affects, and is itself a " world "that the artwork is beautiful (contemporary art is beautiful when it was hung initiation as the artist tries to get us). Or, as is Danto , we must rule out the beauty that was just for old basis for compliance of the work for aesthetic judgments. This he explains, through the analysis of some contemporary works . This is the great difficulty of the arts of our time: they are often bound by intellectual and experimental directions that can not be read directly and without knowledge of their origins: they are wastelands of discoveries that may become real works in the eyes of humanized machines (post-futurism). Never has a young work is understood without having assimilated his genealogy. However it is noted that the term "art" is too commonly applied to any media spectacular, and that to his detriment. Mediations artistic exceed and transcend all the problems of the knowledge of the world. The study of physical phenomena and the evolution of technology play an important role, since they often influence the tools of creation. An artistic experiment, parallel to scientific experimentation, and just base the development of a new aesthetic, underpinned by the growing role of technology in everyday life. The art could be used to reproduce eternal concepts designed or invented by the mere contemplation. The origin of art is really from the knowledge of ideas and things, but beyond that knowledge to show otherwise, thus becoming representation. To the extent that art sets goals (which goes against the grain of course), one of the goals of art would be to connect the deep knowledge gained not only by the senses , but also by the spirit. The art of pure imitation is still far from the truth: the work can be as beautiful as the real thing and is of another order, and did not seize a small part. The imitation of nature never translates its level of beauty , however, that reveals the artistic representation an absolute fit for the artist, a truth of our natural environment and inimitable as staff. But this production is not necessarily voluntary. Unlike other human productions, the act of creation is most often outside the field of consciousness. It gives us access to a communication from the spiritual, the timeless, universal. Nietzsche also believed that art should serve to hide or embellish everything ugly in human nature . Yet today, some art born of modernity, such as the cinema , looking as much to beautify the human nature , to highlight any darkness in the hope may be to extract the seeds of misunderstanding and intolerance. The film, in the limit of art, providing credibilities see daily that update, like the novel, but smaller, a human experience that we can not discover otherwise. This logic leads to a need for art, as experienced from the inside by the artist. The music , more than "the art of organizing sounds" reflects the expression of a sound entity "other", a surreal form and conceptualization of non-communication, it is a total fantasy, which meets at the Once the new representations and a new design of their construction. Like other arts, it expresses the rational and the irrational, but away from the myth or magic. All creative processes operate by the same spirit that guides them, a catharsis that guarantees exceeding the limits to the knowledge of the world. Symbiosis sensory feeds the creative action is the basic form of representation which infers the imagination. As an approach different, more focused mind to that thought, art must inevitably lead to a continuation of the work of an overbearing nature and confined to evolutionary changes. Trying to overcome these limitations of human thought, art finds spiritual substance, almost mystical, almost magical creation. This desire to satisfy our thirst for knowledge is not necessarily unhealthy. Myth and magic are not inherently loopholes to lack of rationality of the events that surround us, even if, for some, a confession of weakness, limitations transfigured. They can sometimes also mark the search for a spirituality lacking. The art, however it is still a need to express the world this way. It does not seek to replace reality by another entity better consistency and he does not seek to transgress the limitations inherent to our nature, but seeks to transcend them. Art seeks to use the world of sense to enter a world of mind , or perhaps even that of the soul. In doing so, the art seeks the immanent behind the permanent. He tries to prove that human potential is not limited to transformation, but he conquered the dimension of creation. and references in Cultural History , Anthropology, Art , Economics of culture , etc.. 
Football Players Imitation and Representation
Sources
Notes
References
See also
Bibliography
Structures founders
1: Architecture 2 nd: sculpture 3 rd: painting 4 th: theater 5 th: music 6th: Poetry 7 th cinema 8 th: TV 9 th: Comics
(1 votes, average: 4.00 out of 5, rated)
Loading ...
