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Brancusian Phenomenology. Elephtheria Beza. Universitatea Al. Sculpture, is so important for philosophy because unravels the tangle of the formatting of matter. Sculpting a material-this process of elaborating-refers intensely to spiritualization of the material2, to energy: this is the literal and the predominant etymology and function of the sculptural craft: to attribute and concede substance to the amorphous mass, to cultivate properties in chaos3, to give the three-dimensional impression.
Brancusi was the first to officially4 award to sculpture the title, the significance and the value that she was always accounted for, the one of the muse of all art, of her solid base and initial source. This is the way philosophy turns and transforms into art; the way spirit revolves to matter and matter converts to spirit: this is inspiration. This distance is covered by the work of art, or the artistic procedure, that unifies nature and society, thought and act, theory and practice and spirit and reality5.
Balasca-Mihoci, Arte e Fenomenologia Brancusiana, p. Gadamer, The Relevance of the Beautiful, p. Thus formation is the process of becoming or making something beautiful from within8: it takes a background to build a perspective, a foundation for something to stand and a reason to exist.
Creation is an act similar to sculpting, as far as it gives presence and substance to what is not yet realized or embedded. The works of art of Brancusi are governed by creation, namely they are not only derived from imagination and creativity, but they also inspire them For imagination to exist, must rely on reason16 and for creativity, to meditation. In both ways, acceptance of the norm and ensuing excess of it is a prerequisite; technique is only one side, or one part-potentially inseparable- of creation, untenable and impractical by itself.
Danto, Kalliphobia in Contemporary Art, p. Ozborne, The Concept of Creativity in Art, p. Fizer, Reflection on the Arche and Hyle, p. Dufrenne, The Phenomenology of Aesthetic Experience, p. As long as everything the humans can perceive and reflect on belong to the realm of forms, the significance of the form, e. The merge of the original and the archaic is one of the characteristics of the unity of the works of art of Brancusi.
This unity- unification implies ratification and transcendence of the eternal and unique character of recycling recognition and repetition Not belonging to any particular artistic movement, not to be compatible with any pre- existing style and to establish a separate species with your own, personal contribution21indicates great respect towards art, which serves form in its absoluteness.
Stripping the content22, highlights this qualitative repetition-iteration, that, either stoically or pagan expressed-as universal recycling or reincarnation-always has been sought by the world, needed by humanity and pleaded by time. Time passes and stops always heading and tending to what is out of reach but each time nearer- closer, when the outside returns to authentic forms This orbit is self-reliant; the single-and unified-structure that serves representation without being subjugated to it, overcomes space and time when manages to protect itself displayed equally to every comprising element In this manner, the symbolic function of the aesthetic object seals the distinction that enables interconnection and intercommunication between modular and emerging levels and variegation of-their-phenomenological overview- introspection This phenomenological overview-introspection, is the one that can show the true face of the cosmic and yet human universe What is immanent to genuine is the inalienable; what, even though self-sustaining, does not auto-consumes itself.
The same thing, moreover, Andre Breton meant when he said that a work of art is worthy only when it is penetrated by shivers of the future Timelessness, means transcendence of the ephemeral, of the superficial evanescent that can absorb, distracting from the true and the fundamental, the one that happens in real time and occupies real space.
Ephemeral can always impress but it has no substance, no depth, no content; in other words, it has no past Brancusi seems to pump his forms into the future and receive their content from the past. From the present he receives the matter, the aim and the essence: as a creator, he must listen carefully and interpret rightly the pulse of his era, so as to express it as much as possible.
After all, this is the artistic contribution to express and to satisfy the actual tendencies and needs and resist assimilation. Beyond the ephemeral is what stands for converting the spiritual properties to palpable existences, despite the deceiving character of its usual and common intrinsic and inherent, ineffable transformations As thought is not existent before expressed through words38likewise an epoch lacks its seal before expressed through works.
The revival of the archaic and the primitive-that contain authentic and prototype-is a prerequisite for originality, for the same reason that vogue and style per se stay always in surface: means must maintain a part of aim within themselves as to remain means. The way or the method is not only an idea, but also the actuality of the process, and her value.
This identification sometimes means the merge of means and aims, as a result of the objectified 29 Cf. Other times, she means and she implies the unity of spirit and material, as well as that of sensuous and real, in terms of timelessness and universality of the Creation par excellence, and of the soul psyche Regarding the identification of means and aims, the representation and the illustration of the abstraction, per se and as such, contribute to the universalization of meaning and to effective and substantial connection between reception and transmission of the message transferred.
Though, the true reason of this stimulation, that lies in the clarity and the absoluteness45 of the- aforementioned-abstraction is the impossibility and the contradiction of the obligingness of imagination and creativity If imaginative creativity is not free, she will definitely force herself towards her freedom. This neutralization is necessary and also very significant for the work of art, because maintains the measure, the moderation, that is required for the achievement of the intended and sought objective of balance in a level acrobatic by definition.
Balasca-Mihoci, Arte e Fenomenologia Brancusiana,, p. Gadamer, Praise of Theory, p. Fizer, Reflection on the Arche, Hyle, p. His works are demanding and confirming not only asserting or attesting existence This axis of merge of means and aims and the other one, of spatiotemporal union of spirit and matter meet in the balance which automatically multiplies the duality of inspiration the form does not only participate in the content-or vice versa-but they interact factually and genuinely.
This-and only this-kind of abstraction is a necessity and a conditio sine qua non for the genuine work of art, as it overcomes and escapes serious problems and dangers that can derive from superficial and rough outlines of abstraction that aim to mere impression The boundaries between total and absolute from one part, and mere abstraction from the other are too thin: the risk of formalism60 and typology always lurks underlying.
Abstraction is the authority that unifies 52 Cf. Balasca-Mihoci, Arte e Fenomenologia brancusiana, p. See also Balasca-Mihoci, Arte e Fenomenologia brancusiana, p. The point at which the abstract enters the field of ideal, exemplary.
Abstraction is, first of all, an intellectual capacity; re-offering the new humanism is the task of the avant-garde worldwide cf. The form of the form furnishes and yields the given structure of the common use that withstood time and involves deconstruction as a condition for its revival73; it corresponds to the face without face, e. This is the meaning of nude nudity75 that line perfectly with the garment of lived alterity, embodied and in subjective realism76and also of the work of art as a process and as a status-altogether.
In other words, for art, the form of the form corresponds to the unity of form and content. They manage to combine inwardness and a fully respectful depth with an oversized outer world, they find answers and responses to a variety of questions and enigmas of nature and substance also Balasca-Mihoci, Arte e Fenomenologia brancusiana, p.
Aristoteles, 66 Gadamer, The Relevance of the Beautiful, p. By George Collins, ed. Verso, London , N. Human and Social Studies, Vol. Related Papers. By mariana larison. By Helena De Preester. By Veronique Tomaszewski.
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Histoire de l'art: L'art antique
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Istoria artei - Spiritul formelor I
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