Cartesian Persepectivialism In Art

A painterly quality with an otherworldly aesthetic is what set pictorialism apart from other photographic practices at the time. This notion of perfection is what really captures my attention. What I find quite interesting is that looking into this aesthetic every man

Both Roosevelt’s “four freedoms” speech and Kennedy's inaugural address are about freedom. They are from different presidents at different times, however, Roosevelt’s speech is about war, fighting and how we got our freedom, whereas Kennedy’s speech is about after war and what people can do to help their country. The following paragraphs will show how the two speeches are similar and different.

“The division between realism and abstraction is not as clear as we might first believe. ” Within The Practices of Looking, Sturken and Cartwright examine the relationship between perspective and realism. In addition to explaining how perspective is important in replicating reality within art and video games. The example given to illustrate this perspective in Practices of Looking is a painting from Mark Tansey, called The Innocent Eye Test. The painting is a critique of the form of realism and depicts a cow stood in front of men in lab coats, staring at an artists realist painting of a cow. Tansey does this to show that the narratives never actually occurred. Realism within art ultimately provides a difficult question to the audience, what

However, one must remember that by “mind” Descartes meant only “a thing that thinks” (Meditations, p. 20), which is to say that thinking is the essence of the mind. From this kernel of truth Descartes builds up the rest of his understanding of the mind and part of this understanding is that the mind is entirely accessible to itself and in this sense is one unified thing. However, today the

Abstraction is the creation of art without representation of objects, in which the artist has total freedom of the art that they are creating. I will be using three paintings from three different time periods in order to show the development and lasting effects of abstraction in the twentieth century. The first work that I will be looking at is Foghorns by Arthur Dove. I will use this piece to show the beginning of abstraction, and how ideas of abstraction were present before the movement began. The second painting that I will be looking at is Jackson Pollock’s Lucifer. I will be using this painting as an example of the height of abstraction in the 20th century and will be discussing Pollock’s influence on abstraction. The third piece of art I will be looking at is Many Mansion by Kerry James Marshall. I will use this work to show the remnants of Pollock’s influence, and the influence of abstraction in general, on art in the later half of the century. For the development of this paper I looked at two of the course readings. The first reading that I used was The Tradition of the New by Harold Rosenberg. I used this article to show how Foghorns by Arthur Dove relates to abstraction, and to show how ideas in creation of this painting can be linked to ideas of abstract art. The second reading that I used for this paper was The Legacy of Jackson Pollock by Alan Kaprow. I used this article to gain information about

The late 1940s and 1950s saw the rise of political and cultural hysteria among Americans following fears of an impending Soviet threat on American soil. The effect was that Americans thought soviet communists were working behind the scenes to ensure the downfall or harm of the United States (Lovett). As a result, there was regular charging among each other that one was either a communist or a sympathizer of communists, thereby continuing this trend of fear. Under this threat then, several American politicians withdrew their political ideas, values and lived communist-free lives (Schrecker). It was during this rise that McCarthyism was at its peak. This was a movement that would use communism

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

Some have suggested that René Descartes argues that sense perception relies on the mind rather than on the body. Descartes asserts that we can know our mind more readily than we can know our body. In support of this idea he gives the example of a piece of wax which is observed in its solid form and its liquid form. After pointing out the difficulties of relying on the senses of the physical body to understand the nature of the wax he makes this claim: [P]erception ... is neither a seeing, nor a touching, nor an imagining. ... [R]ather it is an inspection on the part of the mind alone (Section 31). 1 This quote is perhaps the most direct statement of the author's thesis on this subject.

Vanishing point was the main focus for this paper, the VP is where the orthogonal lines all meet. Knowing how to find the VP made me want to choose what I believed to be challenging pictures out of what was given to us. This being said, I chose Gas, Edward Hopper 1940, Corridor in the Asylum, Vincent Van Gogh 1889, and L`Europe-Geneva Bridge, Gustave Caillebotte 1876. In these three paintings I not only saw a challenge, but also a neat story that can be conveyed in finding the VP.

Descartes’ argue that mind is better known than body by first claiming humans as fundamentally rational, meaning “a thing that doubts, understands, affirms, denies, is willing, is unwilling,” ( Descartes, 19) he therefore argues that humans have the ability to know their proper minds clearly and distinctly. He proposes the conception of the mind where the imagination and the senses are also inherent capabilities of the body (faculties), specifically powers of the mind.

Characteristics of Abstract Expressionist Paintings-optical buzz, all-over composition, Matisse sometimes painted images on large canvases, as did Picasso but paintings still retained an object like character- the viewer needed to stand back to see the complete composition. Abstract expressionist paintings, on the other hand, draw the spectator into them. The field of vision is thus larger than the field of vision of the spectator, who finds himself in a world beyond measurement (class handouts) "Portable Mural"

Building off his established idea of the Cogito, Descartes continues to formulate an idea of how the world operates. He arrives upon one of the most widely held metaphysical opinions, especially among a majority of the world’s religions, which is mind-body dualism. Mind-body dualism states that there are two types of entities in the world; those which have extension and measurable qualities such as the body and existing separately is the non physical mind.

This paper will attempt to explain Descartes’ first argument for the distinction that exists between mind and body. Dualism is a necessary aspect of Descartes’ metaphysics and epistemology. This distinction is important within the larger framework of Meditations on First Philosophy (1641) because after doubting everything (body, extension, senses, etc.), Descartes comes to the conclusion that because he doubts, he must be a thinking thing and therefore exist (p.43). This means that the mind must be separate and independent from the body. One can doubt that the body exists while leaving the mind intact. To doubt that the mind exists, however, is contradictory. For if the mind does not exist, how, or with what, is that doubt being accomplished.

In Descartes theory, known as Cartesian Dualism, states that the mind interacts with the body at the pineal gland. He believed that while two separate entities, the mind controlled the body but they could interact with one another. According to Crane T. and Patterson, S. (2001) “Descartes’ suggestive characterization of a human being as a res cogitans. If I am first and foremost a ‘thinking thing,’ an individual whose mind is an immaterial and non-extended substance, then I need to explain those relations which might be said to exist between my mind, so understood, and my body, when that is defined as a material, physical thing.” Other philosophers believed in another theory called monism. Monism is basically the belief that mind and matter are made up of the same thing.

As Gombrich describes, objectivity is the ability to represent something exactly as it is seen in nature without any influence. According to Gombrich, the objectivity of the representation in a work of art does not define how correct or real the art is. On the contrary, realism is defined by the information conveyed from the art. If the information is correct, the work is realistic. Gombrich believes this because there are multiple limits to representing objectively. One of the most prominent limits is style because as much as any artist would like to recreate nature objectively, style overrules. Every artist has a unique temperament which is represented in their work, making it a limit to representing an object objectively. Furthermore, the style itself is a limit to objectivity as well. Style includes but is not limited to the method of recreation or technique. The choice of technique restricts the artist freedom of choice as the artist can only render what his technique is capable of rendering. Not only is the limit to objectivity seen in the work of art itself, but it is also present in viewing nature itself with the eyes. The artist will see certain aspects of nature that others will not see based on his technique. For example, an artist drawing a scene will focus on the scene in terms of lines. Another limit to objectivity is the preference of an artist. An artist will only paint what he likes, which is what he can paint.