الطبيعة الصامتة في التصوير المصري المعاصر (Still Life in Egyptian Contemporary Painting)

2005 ◽  
Author(s):  
Hala Ibrahim Mohamed Elsaed
Keyword(s):  
Still Life ◽  
Contemporary Painting

scholarly journals The (Playfully) Melancholic Still Life of Contemporary Painting

2018 ◽  
pp. 173-188
Author(s):  
Frances Woodley
Keyword(s):  
Case Studies ◽  
Cultural Memory ◽  
Still Life ◽  
Material Process ◽  
Contemporary Painting ◽  
Over Time ◽  
Contemporary Artists

This paper considers the ways in which contemporary painting of still life accepts the address of its tradition. Tradition is considered here as cultural memory reiterated and transformed over time. The means by which contemporary artists work with, and against, tradition are explored through ideas of reverie, play and material process. Melancholy is a characteristic of the genre of still life, one that crosses time, and is thus given particular attention in relation to traditional and contemporary still life. Whilst Part I is an exploration of the themes and issues described above, Part II (case studies) is an attempt to exemplify them through the work of three contemporary British painters: Alan Salisbury, Emma Bennett and G.L. Brierley of whom it can be said that they paint playfully melancholic paintings of still life.

The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered

2015 ◽  
Vol 60 (1) ◽  
pp. 81-102
Author(s):  
KErstin Thomas
Keyword(s):  
Still Life ◽  
Work Of Art ◽  
Concrete Material ◽  
Vincent Van Gogh ◽  
Starting Point ◽  
Specific Object ◽  
Truth Claims ◽  
The Common ◽  
Critical Intervention ◽  
The Given

Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.

Tobacco’s Appeal to the Senses and the Early Modern Smoker’s Still Life

2020 ◽  
pp. 123-150
Author(s):  
Julia Saviello
Keyword(s):  
Still Life ◽  
Sense Data ◽  
Complex Image ◽  
Starting Point ◽  
Depth Analysis ◽  
Tobacco Pipes ◽  
Five Senses ◽  
The Senses ◽  
Cut Tobacco ◽  
Selection Of

Smell and taste – of the five senses these are the two most strongly stimulated by smoking tobacco. The article presents an in-depth analysis of the reflection of both these forms of sensory perception in textual and visual sources concerning the early consumption of the herb. In a first step, tobacco’s changing reception, first as medicine and then as stimulant, is traced through the years of its increasing distribution in Europe, starting in the middle of the 16th century. As this overview reveals, at that time the still little known substance gave rise to new forms of sense perception. Following recent studies on smell and gustation, which have stressed the need to take into account the interactions between these senses, the article probes the manifold stimulation of the senses by tobacco with reference to allegorical representations and genre scenes addressing the five senses. The smoking of tobacco was thematized in both of these art forms as a means of visualizing either smell or taste. Yet, these depictions show no indication of any deliberate engagement with the exchange of sense data between mouth and nose. The question posed at the end of this paper is whether this holds true also for early smoker’s still lifes. In the so-called toebakjes or rookertjes, a subgenre of stilllife painting that, like tobacco, was still a novelty at the beginning of the 17th century, various smoking paraphernalia – such as rolled or cut tobacco, pipes and tins – are arrayed with various kinds of foods and drinks. Finally, the article addresses a selection of such smoker’s still lifes, using the toebakje by Pieter Claesz., probably the first of its kind, as a starting point and the work by Georg Flegel as a comparative example. Through their selection of objects, both offer a complex image of how tobacco engages different senses.

Still Life & Other Stories

2013 ◽  
Author(s):  
Amanda Catherine Moore
Keyword(s):  
Still Life

Kazimir Malevich: Economy as the Fifth Dimension

2019 ◽  
Vol 29 (6) ◽  
pp. 215-228
Keyword(s):  
Karl Marx ◽  
Dialectical Materialism ◽  
Economic Base ◽  
Surplus Value ◽  
Bourgeois Society ◽  
Fifth Dimension ◽  
Fourth Volume ◽  
Contemporary Painting ◽  
New Criterion ◽  
The Impact

This paper deals with the impact that Karl Marx"s Das Kapital (and especially its fourth volume, the theory of Surplus Value) had on the category of economy in Kazimir Malevich"s output. In a series of texts, Malevich proclaims economy the new criterion of art and the Black Square its embodiment in contemporary painting. While the author was analyzing Marx"s views on labor and human nature, echoes of them turned up in Malevich"s manifestos and philosophical essays where the artist pondered the idea of the liberation of creative exaltation. The article others an interpretation of the creative process itself from the standpoint of economy, which for Malevich provided an opportunity to lay down the foundation for a new kind of art that was consistent with the prevailing ideology. The author points out that while Malevich was in Vitebsk he studied Marx"s works with idea of incorporating economic studies into art: his speculations on the relationships between the ideological superstructure and the practical, economic base were written in the manner of Marxist philosophy and provided the basis for his main essays, The World as Non-Objectivity (1923) and Suprematism: Thee World as Non-Objectivity or Eternal Rest (1923-1924). They defined the new art as an independent ideological superstructure positioned “outside of other contents and ideologies.” Parallel to that, the author examines the correspondence between Malevich"s theory of the surplus element and Marxist doctrines on surplus value. It is also shown that Malevich hoped to prove that, as in dialectical materialism, his new surplus element opens the way to a new artistic structure that is emerging from the womb of the old system in the same way that communism comes about as a kind of heterogeneous body from within the underpinnings of bourgeois society.

James Joyce: Portrait and Still Life

Arion ◽  
2016 ◽  
Vol 24 (1) ◽  
pp. 87
Author(s):  
Marianne McDonald
Keyword(s):  
James Joyce ◽  
Still Life
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