The Education of the Eye examines the origins of visual culture in eighteenth-century Britain. It claims that at the moment when works of visual art were first displayed and contemplated as aesthetic objects two competing descriptions of the viewer or spectator promoted two very different accounts of culture. The first was constructed on knowledge, on what one already knew, while the second was grounded in the eye itself. Though the first was most likely to lead to a socially and politically (...) elite form for visual culture, the second, it was held, would almost certainly end up in the chaos of the mob. But there was another route through these conflicting accounts of the visual that preserved the education of the eye while at the same time allowing the eye freedom to enter into the realm of culture. This third route, that of the sentimental look, is explored in a series of contexts: the gallery, the pleasure garden, the landscape park, and the country house. The Education of the Eye sets out to reclaim visual culture for the democracy of the eye and to explain how aesthetic contemplation may, once more, be open to all who have eyes to look. The book will interest historians of eighteenth-century British culture and historians of architecture, art, and landscape, as well as readers generally curious about the origins of our current visual culture. (shrink)

_Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory._.

Resumo: Este artigo tem como objetivo quebrar as barreiras existentes na classificação da arte, adotar métodos de pesquisa interdisciplinares e comparativos, basear-se nos conceitos centrais do Taoísmo, “Dao segue a natureza”, do Confucionismo, “Doutrina do Meio”, e do Zen, “natureza pura do coração”, explicar o significado profundo do espaço em branco na pintura à tinta e revelar o fundo cultural e o valor estético do silêncio na música, enfatizando a relação dialética entre existência e não existência, som e silêncio, na (...) criação artística. Os resultados indicam que tanto o “silêncio” na música como os espaços em branco, nas pinturas à tinta, possuem importante valor estético. Na apreciação musical, é importante abrandar o ritmo, prestar atenção aos intervalos e interrupções, apreciar ativamente a arte do espaço em branco, aprender a entender o trabalho geral e usufruir do espaço em branco. Através da exploração interdisciplinar, este texto proporciona um novo caminho para a compreensão e a aplicação da apreciação musical, promovendo, assim, o pensamento filosófico sobre o significado profundo da música. (shrink)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on art was (...) self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola by Luciano Emmer and Le Monde de Paul Delvaux by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

PART INTRODUCTIONS TO MERLEAU- PONTY'S PHI LOSOPH Y OF PAI NTI NG Galen A. Johnson ...