By Joseph D. Parry
Philosophy of artwork is usually all in favour of the definition, appreciation and price of artwork. via a detailed exam of paintings from contemporary centuries, artwork and Phenomenology is likely one of the first books to discover visible artwork as a style of experiencing the realm itself, exhibiting how within the phrases of Merleau-Ponty ‘Painting doesn't imitate the realm, yet is an international of its own’. a good sequence of chapters by means of a global crew of participants research the next questions: Paul Klee and the physique in artwork color and historical past in Merleau-Ponty’s phenomenology of artwork self-consciousness and seventeenth-century portray Vermeer and Heidegger philosophy and the portray of Rothko embodiment in Renaissance artwork sculpture, dance and phenomenology. artwork and Phenomenology is key studying for an individual attracted to phenomenology, aesthetics, and visible tradition.
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Extra info for Art and Phenomenology
The spatiality of the captain lies at the meeting place of two lines of sight which are incompossible and yet together. (1964a: 62) In the center of the painting, then, we see the hand as if from two different 20 THE PH EN O M EN O LO G I CAL R ELE VA N C E O F A RT angles. In its shadow, we see it as it would look from a vantage point above and to the left of the hand. Merleau-Ponty explains: Everyone with eyes has at some time or other witnessed this play of shadows, or something like it, and has been made by it to see a space and the things included therein.
Pictorial works can do this because painting “gives visible existence to what profane vision believes to be invisible” (Merleau-Ponty 1964a: 62). The painter presents on the canvas what Merleau-Ponty calls the “secret ciphers” of vision, sensory qualities which are so organized and to which we are so attuned that they give rise to a certain experience and draw out of us a certain response. We’ll look to Paul Klee in a moment to illustrate this idea, but let’s review one more example to which Merleau-Ponty calls our attention.
And I also think that the phenomenology of perception will almost certainly have some implications for these issues. But MerleauPonty believes his phenomenology has a kind of priority over, and independence of, such theories. Whatever the final, best story about the biological and optical foundations of perception might be, a phenomenologically sensitive account of perception has a priority insofar as it helps us to identify the features of experience which are to be accounted for by this best story.
Art and Phenomenology by Joseph D. Parry