By Paul Smith, Carolyn Wilde
The spouse offers an obtainable severe survey of Western visible paintings idea from resources in Classical, Medieval and Renaissance inspiration via to modern writings.
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Extra resources for A Companion to Art Theory
1–3, trans. by H. M. Hubbell, Loeb Classical Library, pp. 8–10, trans. by G. L. Hendrickson and H. M. Hubbell, Loeb Classical Library, p. 311 Horace (1966) Ars poetica 1–37, trans. by H. Rushton Fairclough, Loeb Classical Library, pp. 7, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, pp. 302, 305 Philo of Alexandria (1970) De opiﬁcio mundi 4, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, p. 22, trans.
If it did, it would not be a representation or mimema of that thing but a second example of it (Plato’s Cratylus 432A–B). Finally, the only function of pictures and mimemata is to be similar to a certain extent to the things represented (Plato’s Sophist 240B). Pictures and mimemata are made in order to be seen or heard and thereby produce mental images of individual things they themselves are not. Thus, pictures and mimemata are man-made things intended to raise mental images of individual things with their contingent shapes and qualities in the minds of their listeners and spectators.
But it is a self-referential drama of heroic creativity, drawing on chance cultural references displaced from any wider public concerns. Or, very differently, in Anselm Kiefer’s decayed and empty interiors, in work of the 1970s, the vast rooms are vacated of all action and historical memory is corroded. Insofar as there is an End of Painting, then it is this Albertian tradition, which no longer directs contemporary visual imagination, which has come to an end. Notes 1 2 Spencer’s translation (1966), p.
A Companion to Art Theory by Paul Smith, Carolyn Wilde