“Comparative Study of four figures of the French Art scene in the Late Nineteenth and Early Twentieth Centuries in France: Jean Dolent, Gabriel Séailles, Roger Marx and Félix Vallotton”, Chiang Mai University, Faculty of Fine Arts, Visual Arts Department, Painting Division, August 2015. (English) (original) (raw)
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Minds Behind French Artists 19 th Century
The objective of this paper is to analyze the psychology behind paintings created in the 19 th century by French painters. Painters usually portray what they feel or see in their personal point of view. This paper will cover two paintings where you can appreciate an uncovered or an obvious demonstration of a certain social situation from the artist`s perspective. It will be especially of French artists because of the interesting social situation France was experiencing in this century. Since the paper is mainly about understanding what the mind of these famous artists were about, there will be a brief timeline of the most significant political French events of the 19 th century. The timeline's purpose is to have some key points regarding the situation of the country in general. Considering that the two paintings are going to cover mostly social events, the previous it's important. After acknowledging these, a list (not detailed) of the artistic movements bestowed in the century will be presented. The painters will be mentioned with their painting about the social issue. Merging the social issue shown and the data recollected of their particular situation (life conditions, individual thoughts and particular artistic influences), a conclusion based on the behavior of the subject will likely describe what could most possibly had been through their minds.
The art behind the words. Exploring the gap between criticism and the paintings.
2021
JUST OUT! This book can be ordered under ISBN 9789464065923 The book offers an in-depth analysis of thinking and writing about art in late sixteenth and early seventeenth century Italy. From the cover: "As a painting leaves the artist's workshop it becomes a focus of various sentiments and thoughts .... It will be admired or disliked, it will be analyzed on technical grounds and commented upon. It took a long time for this process to become visible. This study examines some examples of the manner in which critical reactions began to manifest themselves in an age in which writing about works of art was leaving the tradition of ex cathedra declarations. The views of three art lovers from that typical transitory period at the end of the sixteenth century are analyzed in opposition to the common modern assumption of a style of revolution taking place in those days. Next, the dilemmas of an outspoken critic as Giovan Pietro Bellori from the middle of the seventeenth century are deciphered. And finally, the thoughts of one of the first painters to claim a personal interpretation of his works, the great Nicolas Poussin, are reconstructed by means of a close reading of his own notes and critical reactions on remarks of his patrons."
re-published in a modified version as The Psychoanalytic Approach to Artistic and Literary Expression in Toward the Postmodern, ed. R. Harvey and M. Roberts (Amherst, NY, Humanity Books, 1993, pp. 2-11). Opposing itself to various other psychoanalytic approaches to art and literature (approaches that Lyotard criticises along the way), the paper argues that because artistic and literary works are laden with figure, which operates according to a different logic than that of language, artistic expression must be understood as having properties different from those of spoken or written commentary. Expression is thus set off from meaning, and is shown to reveal a very specific kind of truth: the trace of the primary process, free for the moment from the ordering functions of the secondary process. Its formative operations not only leave their mark on the space in which artistic works appear, but produce new, plastic, figures. Lyotard argues that the artistic impulse is the desire to see these unconscious operations, "the desire to see the desire." Attention to this function of truth and to the role of artistic space in giving the artwork its "play" brings attention back to Freud's analysis of expression in tragedy and its link to the results of his own self-analysis -and thus to the very constitution of psychoanalysis itself.
Criticism after Romanticism: 2. Art for Art's Sake. 3. Impressionism and Subjectivism
A lecture on the history of critical ideas and aesthetics after the heyday of Romanticism, during the Victorian period. The movement of Art for Art's sake is here presented with its French origins and an overview of the main ideas on poetics and aesthetics of its main representatives in the Anglophone sphere: Edgar Allan Poe, Walter Pater, and Oscar Wilde. This is followed by an account of Impressionist criticism. Keywords: Criticism, Aesthetics, Art for Art's sake, Poetics, Edgar Allan Poe, Oscar Wilde
The conference seeks to examine the shaping of art history as a discipline during the 19 th century in relation to artistic training and exchanges between artists and scholars. The development of art history has been associated with an array of socio-political and economic factors such as the formation of a bourgeois public, the politics of national identity and state legitimacy or the needs of an expanding art market. This conference aspires to explore yet another, less studied dimension: the extent to which the historical study of art was also rooted in an intention to inform contemporary artistic production.