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Find More About Aesthetics Of Cubism.

Aesthetics of cubism practically represents specific modeling of cognitive process, based on basic for cubism principle ?negations of naive realism?, the artist assuming refusal of a support on visual perception of the subject world. The given principle underlies proclaimed cubism program ?struggle against sight?, i.e. struggle against non-critical acceptance of phenomenology of a video series as a knowledge basis in general and comprehension by the artist of painting, in particular (the world is deformed, it is not visible to its essence and it cannot be visible, i.e. the phenomenological reduction cannot apply for an adequate method of knowledge of the world): under A. Glez?s and Z. Mettsenzhe’s formulation, ?the eye is able to interest and tempt mind with the elusions?, but at the heart of this temptation – is an optical illusion. As wrote Z. Bruck, ?feelings deprive the form, the spirit forms. Authentically is only that spirit makes?. In this context, naturally, by an estimation of cubism, that ?wishing to reach ideal proportions, artists, without being more limited to something human, represent us products more speculative, rather than sensual? (G. Apolliner). In this context it is indicative that R. Lebel names his monography devoted to cubism, ?The seamy side of painting?, underlining thereby intension of cubists on penetration for a phenomenological number. For example, Berdyaev wrote about P. Picasso: ?He, as the clairvoyant, looks through all covers… Further away to go deep inside, and there will be no materiality – there already internal system of the nature, hierarchy of spirits?, – and the tendency of this movement conducts to an exit from a physical, material flesh in other, higher plan. Thus, instead of disorder of sensual experiences Monet and Renoir cubists promise to the world something stronger, not illusory ? knowledge? (L. Reyngardt). In evolution of philosophical bases in cubism can be allocated two stages. An initial presumption of aesthetic concept of cubism – is the presumption destruction of object as it is: by estimation of R. Delon ?until art will not be released from a subject, it condemns itself on slavery?. Thus, according to cubistic strategy of art creativity, ?it is not necessary even to try to imitate things. Transcendental objects do not exist at all. They exist only through us? (Bruck).

Now, recognizing, at last, for a chimera objective knowledge and taking for granted that everything accepted by crowd for natural, is convention, the artist will not recognize other laws, except taste laws. Mission of the artist in this context is articulated as clearing of (and by means of it is also others) of ?a banal kind of things?. As fundamental credo cubism accepts the formula of ?rather decorative painting and picturesque scenery!? (Z. Mettsenzhe). In this context cubism postulates as the method in unusual way articulated ?lyricism? or ?lyricism inside out?, which has been understood by cubism as a method of clearing of consciousness from slavery of the subject world reached by means of program calling by the artist of feeling of disgust for a subject of its creativity. Lyricism can be considered as a basic paradigm for early cubism. Its theoretical contribution can be summarized as follows: the cubism considers a picture as the object creating lyricism, – lyricism as the unique purpose of this object. All kinds of freedom are permitted to the artist to create lyricism. Practically it means exit of cubism for fine arts limits – to art abstract: if visually observable world can illusory, interest of the artist should be concentrated to the original (intrinsic) world, i.e. the world of pure geometrical forms.

According to a reflective self-estimation of cubism ?for us a line, a surface, volumes – not that other as shades of our understanding of fullness that is not presented by appearance of object and all external is reduced in cubistic vision to one denominator of weight, namely – its geometrical basis. According to it, aesthetics of cubism is under construction on idea of deformation of traditional (visually observable) form of object, – deformations, which urged to bare original essence of object. The cubism considers a picture absolutely independent by nature, and it uses forms and paints not for the sake of their imitative abilities, and for the sake of their plastic value. Thus, cubism comes to idea of plastic modeling of the world as cognitive search of its plastic (structural) basis.

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