Aesthetic Inquiry: Essays on Art Criticism and the Philosophy of Art

1968 ◽  
Vol 2 (4) ◽  
pp. 131
Author(s):  
Richard W. Peltz ◽  
Monroe G. Beardsley ◽  
Herbert M. Schueller
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art ◽  
Aesthetic Inquiry

Aesthetics and Philosophy of Art Criticism. Jerome Stolnitz

Ethics ◽  
1961 ◽  
Vol 71 (2) ◽  
pp. 143-144
Author(s):  
Manuel Bilsky
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art

Teaching Art Criticism as Aesthetic Inquiry

1974 ◽  
Vol 4 (2/3) ◽  
pp. 112
Author(s):  
David W. Ecker
Keyword(s):  
Art Criticism ◽  
Aesthetic Inquiry

Aesthetics and Philosophy of Art Criticism

1961 ◽  
Vol 19 (3) ◽  
pp. 351
Author(s):  
Richard Kuhns ◽  
Jerome Stolnitz
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art

Aesthetics and Philosophy of Art Criticism

1961 ◽  
Vol 35 (2) ◽  
pp. 260-265
Author(s):  
Harry Berger, ◽  
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art

scholarly journals Ramón Gaya: "Creo que soy poeta pintando"

Monteagudo ◽  
2021 ◽  
pp. 191-208
Author(s):  
Elide Pittarello
Keyword(s):  
Water Flow ◽  
Art Criticism ◽  
Philosophy Of Art ◽  
Avant Garde ◽  
Verbal Language ◽  
Verbal Creativity ◽  
Logical Negation ◽  
Linguistic Strategy ◽  
The Aesthetic ◽  
First Time

Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de la obra de arte se aproxima a una actitud mística. Emerge cuando se enfrenta a la pintura de Velázquez en España, antes de exiliarse en México. Este sentimiento trascendente se agudiza cuando visita Venecia por primera vez, en 1952, y asocia la pintura con el agua que fluye. Es el primer paso de su identificación sagrada de las artes –pintura, poesía, escultura y música– con la Naturaleza y sus elementos cosmológicos. La experiencia veneciana posibilita una nueva creatividad icónica y verbal. La pintura conlleva siempre una enigmática dualidad, manteniendo rasgos de su procedencia misteriosa. Los poemas que Ramón Gaya le dedica al Crepúsculo de Miguel Ángel son una muestra de su intermedialidad heterodoxa, donde a la técnica de lo diáfano en pintura corresponde el uso de la negación lógica por escrito. Esta estrategia lingüística es afín a la de los ensayos que tratan del mismo tema.   Simonides of Ceos, who defined poetry as a speaking picture and painting a mute poetry, contributed to the rise of philosophy of art, the basis of modern Western aesthetics. For the Italian philosopher Benedetto Croce art is the aesthetic synthesis of intuition and expression through lyrical language. It embodies the representations of beauty, a universal event that doesn’t concern History nor art criticism. In a more radical way, Ramón Gaya refused this same knowledge since he was a very young painter, disappointed by avant-garde. His approach to works of art is close to a mystic attitude. It emerges when he faces Velázquez’s painting in Spain, before going into exile in Mexico. His transcendental feeling increases when he visits Venice for the first time, in 1952, and he associates painting with water flow. It is the first step of a sacred identification of arts –painting, poetry, sculpture and music– with nature and its cosmological elements. The Venetian experience gives birth to a new iconic and verbal creativity. Painting always involves an enigmatic duality, keeping features of its mysterious source. The poems that Ramón Gaya dedicated to Michelangelo's Dusk are a specimen of his unconventional intertermediality, where the diaphanous technique in painting corresponds to the use of logical negation in the verbal language. This linguistic strategy is in line with the essays dealing on the same topic.

Aesthetics and Philosophy of Art Criticism; A Critical Introduction.

1964 ◽  
Vol 24 (4) ◽  
pp. 599
Author(s):  
Joseph Margolis ◽  
Jerome Stolnitz
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art

On Richard Wollheim’s Psychoanalytically Informed Philosophy of Art

2018 ◽  
pp. 476-494
Author(s):  
Damien Freeman
Keyword(s):  
Philosophy Of Mind ◽  
Art Criticism ◽  
Artistic Expression ◽  
Philosophy Of Art ◽  
Original Approach ◽  
The Way

This chapter discusses the way in which Wollheim recruits the insights of psychoanalysis to develop a distinctive approach to philosophy of art in particular, and other branches of philosophy more generally, such as philosophy of mind and ethics. Wollheim develops an original approach to artistic expression and expressive perception of emotion by drawing on psychoanalysts’ treatment of projection. He also develops an original approach to art criticism which he dubs criticism as retrieval, and which involves what he dubs the ‘repsychologization’ of pictorial meaning.

Aesthetics and Philosophy of Art Criticism; a Critical Introduction.

1960 ◽  
Vol 57 (19) ◽  
pp. 623
Author(s):  
Monroe C. Beardsley ◽  
Jerome Stolnitz
Keyword(s):  
Art Criticism ◽  
Philosophy Of Art
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