Maniera and the absent hand: avoiding the etymology of style (original) (raw)
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Imafronte, 2021
El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de varias pinturas renacentistas arrojará luz sobre cómo los pintores como Giotto, Da Vinci, Michelangelo, Francesca y más utilizaron la representación de las manos como un aparato y como un lenguaje de sus propósitos creativos. Así, se manifestará una iconografía de manos en la pintura renacentista. Renaissance style of painting reflects all types of plastic design principles, approaches and understanding as a standard character of historical, political, religious, cultural, and economic features of that era. Disposing of unadulterated strict and church focused kind of perspective, Renaissance artists practically start to look on nature, science, literature, philosophy, and obviously human anatomy in a different set of minds. Reasonable, balanced, scientific and logical portrayal of human life leads painters to focus closer on pieces of the human body. Aside from the faces of the figures, hands become essential body parts to hold a mirror to the interior universe of the figures. They were included within the iconographic program such mirrored the emotions and contemplations of the figure, and the connection among figures and objects. In this study, an examination through various Renaissance paintings will shed light on how the painters like Giotto, Da Vinci, Michelangelo, Francesca, and more utilized the portrayal of hands as an apparatus and as a language of their creative purposes. Thusly, an iconography of hands in Renaissance painting will be manifested.
Iconography of Hands in Renaissance Painting
Imafronte, 2021
El estilo de pintura renacentista refleja todo tipo de principios, enfoques y comprensión del diseño plástico como un carácter estándar de las características históricas, políticas, religiosas, culturales y económicas de esa época. Al deshacerse de un tipo de perspectiva estricta y puramente centrada en la iglesia, los artistas del Renacimiento prácticamente comienzan a mirar la naturaleza, la ciencia, la literatura, la filosofía y, obviamente, la anatomía humana en un conjunto de mentes diferente. Una descripción razonable, equilibrada, científica y lógica de la vida humana lleva a los pintores a centrarse más en las partes del cuerpo humano. Aparte de los rostros de las figuras, las manos se convierten en partes esenciales del cuerpo para sujetar un espejo al universo interior de las figuras. Se incluyeron dentro del programa iconográfico tal que reflejaban las emociones y contemplaciones de la figura, y la conexión entre figuras y objetos. En este estudio, un examen a través de v...
Inhabiting without Building. Hands and Contemporary Art
This article, the product of an exchange between an artist and an anthropologist, examines the day-today experience of one visual artist, in an attempt to evaluate the importance of the hand in contemporary art by asking the question "Is my artistic practice manual?" It provides an insightful glimpse into contemporary art and the creative processes it involves. First published in a French journal of anthropology : www.ethnographiques.org, n°31 (2015). http://ethnographiques.org/2015/Adell,Klotz
The role of the artist's gesture in the perception of art and artistic style
2011
The perception of art is a complex and multi-layered phenomenon. One obvious aspect in perceiving and appreciating a work of art is the recognition of its representational content, either figurative or non- figurative. A second and no less important aspect is the assessment of its graphic or plastic qualities. Assessing these qualities is part of our understanding of the process in which the work has been produced. Many artists testify that this process is not primarily an activity carried out by the mind, but rather “[...] a bodily activity, one that is an expression of the lived-body’s way of being in the world.” (Wentworth, 2004: 15) The perception and appreciation of works of art therefore involves the understanding of its coming into being on the basis of the artist’s gestures. In this contribution, these two related ideas are elaborated on the basis of a number of phenomenological insights. First, the Husserlian idea that in the perception of cultural objects their coming into...
James Hall Whenever the issue of sculpture and touch has been discussed, not enough attention has been paid to what we might term the culture of touch. In fifteenth-century Florence, for example, subtle and novel distinctions were made between touch that is soft and hard, chaste and sexual, and between the touch of the left and right hands. The identity of the toucher – their class, role and gender – was also important. In this essay, I would like to show how this Florentine culture of touch came to influence the theory and practice of sculpture, especially that of Lorenzo Ghiberti and Michelangelo. *** One of the most important aspects of the Florentine culture of touch is the cult of the left hand, promoted above all by Lorenzo de' Medici, who developed elaborate and innovative theories in relation to it. The superior beauty and sensitivity of the left hand was already an important component of the courtly love tradition. The Countess of Champagne offers an explanation for the left hand's allure in Andreas Capellanus' classic conduct book, the Art of Courtly Love (late 12c): I should like individual knights of love to be informed that if a lover has accepted a ring from his partner as love-symbol, he should place it on the little finger of his left hand, and always keep the stone of the ring hidden on the inside of the hand.
Strange Tools: Art and Human Nature: A Précis
Philosophy and Phenomenological Research, 2017
What is art? Why is it important? What does it tell us about ourselves? In Strange Tools: Art and Human Nature, I try to answer these questions. Strange Tools builds on my previous work on perception and consciousness (No€ e 2004, 2009, 2012). The book has three animating ideas. First, art is not a technological practice; however, it presupposes such practices in something like the way that irony presuppose straight talk. Works of art are, as I put it, strange tools. Technology is not just something we use or apply to achieve a goal, although this is right to a first approximation; technologies organize our lives in ways that make it impossible to conceive of our lives in their absence; they make us what we are. Art, really, is an engagement with the ways in which our practices, techniques, and technologies, organize us and it is, finally, a way to understand that organization and, inevitably, to reorganize ourselves. The job of art, its true work, is philosophical. This is the second animating idea. Art is a philosophical practice. And philosophy-however surprising this may seem-is an artistic practice. This is because both art, and philosophy-superficially so different-are really species of a common genus whose preoccupation is with the ways we are organized and with the possibility of reorganizing ourselves. A third and final animating idea is that art and philosophy are practices, in the language of the book, bent on the invention of writing. In Strange Tools I criticize biological approaches to art, both neurobiological and evolutionary biological. But I also argue that art is tied to biology, for organization, central to the account I offer, is, at least in part, a biological notion. **** It is a striking fact about art that it is bound up with manufacture and craft. Artists make stuff; they make pictures, sculptures, performances, songs. Artists tinker and assemble, they build; they construct. But why? In contrast with mere technology, art doesn't have to work to be good. Indeed, when it comes to art, it is usually impossible to say, with any confidence, whether it works or not. And this because it is typically hard to say what it is even trying to do. This needn't be true. A portrait by the artist Leonardo da Vinci may aim at displaying a person's likeness. You can learn, for example, about the Duke's mistress from the