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Art perception essays
Art perception essays
The impact of Pablo Picasso
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Geologic form un-earthed: "Seeing through" the art of Pablo Palazuelo
"Science and art are two 'di-fferent' ways of getting to know the world,
ways which-from a shared origin-evolved separately. [...] The two
'di-fferent' conceptions as well as the corresponding attitudes and
activities reveal their reciprocal 'in/cidence' (the result of their common
origin) when they are studied in depth and 'without pre/judice.'"
--Pablo Palazuelo, (Vision-Time essay, Reina Sofía, 259)
Today science and art reflect two different ways of knowing the world. As a scientist, the geologist gets to know the world empirically, through the visual perception of nature's explicit geologic forms. The artist, on the other hand, gets to know the world through intuition, a prescient feeling that reveals the implicit nature of form itself. The art of contemporary Spanish painter Pablo Palazuelo provides a vehicle through which the geologist can know natural form by experiencing its misterium conjunctionis of complementary "desires", where arbitrary distinctions between science and art disappear.
Seeing through Palazuelo's art gives the geologist an insight into the way in which nature constitutes itself, an insight that completely reorients and clarifies the geologist's way of thinking. This fresh new perspective opens the window of conscious perception by awakening the scientist's dormant sensibilities. Geologic form was unearthed before me in this manner several years ago during a visit to the Museo de Arte Abstracto Español in Cuenca, Spain. The Lunariae series of Pablo Palazuelo caught my eye. At first glance I saw a brittle fracture system, not unlike ones I had mapped in a surface outcropping of rock or in an u...
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...uries ago were forgotten and foresees those not yet born" (Energy, Matter and Form essay, Soledad Lorenzo, 9).
Palazuelo's presentient art informs the vision of the perceptive scientist. The geologic form, unearthed by the geoscientist, informs the images of the artist. In this sense, through their open dialog, the conceptions, attitudes and activities of science and art do indeed reflect their "reciprocal in/cidence."
"The image is the experience itself."
--Pablo Palazuelo (El cuerpo geómetra essay, Theo, 2)
Works CiteD:
Palazuelo. Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995.
Palazuelo. Pinturas, esculturas y gouaches, Galería Theo, Madrid, 1985.
Palazuelo. Galería Soledad Lorenzo, Madrid, 1997.
Palazuelo, Pablo, and Kevin Power. Visión y Geometría: Una Conversación con Kevin
Power. Granada: Deputación Provincial de Granada, 1995.
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Diego Rivera was deemed the finest Mexican painter of the twentieth century; he had a huge influence in art worldwide. Rivera wanted to form his own painting fashion. Although he encountered the works of great masters like Gauguin, Renoir, and Matisse, he was still in search of a new form of painting to call his own (Tibol, 1983). His desire was to be capable of reaching a wide audience and express the difficulties of his generation at the same time, and that is exactly what h...
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Art movement’s characteristics vary from nation to nation, but painting can be used as a critique of the socio-political reality in a given nation. It is a creative way to communicate with a population about economic, education and social issues. Therefore, The History of Cuernavaca and Morelos: Crossing the Barranca (ravine) Detail (1929-30) Fresco by Diego Rivera is a good example of how an artist uses his creativity to connect with people in relation to Mexican history. Art is an inspired way to share the complexity and challenge of a community. It can be used a way to respond to them likewise. Therefore, the concept of accessibility takes ingenuity. With his deepen knowledge of European and ancient Mexican art, it was not a documentation
“ I paint objects as I think them, not as I see them.” These are the words of the wise Pablo Ruiz y Picasso, a famous and talented artist in the 19th and 20th century. Many have crowned him the most influential artist of his time. Many of his works including Les Demoiselles d'Avignon, Ma Jolie, and Girl Before a Mirror have set the tone for many artists to follow after. However, Guernica was one of his most famous of his pieces, painting a nearly perfect emotional picture of what was happening during these times of despair. Guernica, one of his many contributions to the art world, will be described first in purely formal terms, and then a comparison and evaluation of three different critiques will be made.
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Diego Velàzquez was called the “noblest and most commanding man among the artists of his country.” He was a master realist, and no painter has surpassed him in the ability to seize essential features and fix them on canvas with a few broad, sure strokes. “His men and women seem to breathe,” it has been said; “his horses are full of action and his dogs of life.” Because of Velàzquez’ great skill in merging color, light, space, rhythm of line, and mass in such a way that all have equal value, he was known as “the painter’s painter,” as demonstrated in the paintings Las Meninas, Sebastiàn de Morra, and Baltasar Carlos and a Dwarf. Las Meninas is a pictorial summary and commentary on the essential mystery of the visual world, as well as on the ambiguity that results when different states or levels interact or are juxtaposed.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
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The concept of reductionism has become an overlooked part of our daily lives. The terms 'analytic' and 'reductionist' refer to a particular mental attitude or manner of thinking that has dominated the modern period and has replaced the synthetic and hierarchical pattern of thought. This transformation occurs in virtually every domain...including, theology, philosophy, literature, politics, economics, and art, but its typical seminal form is to be found in the sciences, the natural sciences. Before focusing on the effect of reductionism in the areas of art and science, it is important to first understand the difference between the synthetic and hierarchical pattern of thought and analytic and reductionist pattern.
the genius of the artist and the method of the scientist, I find many of
The difference between; reality and fantasy, an accurate representation of what is, and a brilliant orchestration of the mind, can often become blurred with the paintbrush of an artist. Yet, as Braque would surely agree, there are certain areas knowledge that only serve to reify our reality, saving us from delving into the fantastic chasm of questions arising from art. This specific area is of course science. One can often become lost in art, in a never ending series of inquiries as to how such a sculpture or painting could be physically possible. Although, science will reassure us as to what is possible and what will remain limited to a picture, or expression of thought or questioning. To evaluate Braque’s claim one must look to art, and the aspects thereof, that defy and upset nature and natural science. Next, the process by which science can reassure ‘what is’, as opposed to a representation of the artistic. And last, what the reassurance of science, as well as, the nature of art entail in their representational and informative nature.