11/9/2022 0 Comments The life of forms focillon![]() ![]() The Life of Forms in Art remains one of the most brilliant and important reflections on the morphology of art. Focillon emphasizes the presence of nonsynchronous tendencies within styles that give to artworks a manifold and stratified character. Although he argues that the development of art is irreducible to external political, social, or economic determinants, one of his great achievements was to lodge a concept of autonomous formal mutation within the shifting domain of materials and techniques. In this classic meditation on the problem of style in art history, Henri Focillon In this beautiful meditation on the history of art and the problem of style, Henri Focillon (1881-1943) describes how art forms change over time. One of the most brilliant and important applications of biological metaphors to the study of art.George Kubler's “Time-Solid.” A Visual Model of An-Historical Time Henri Focillon's The Life of Forms, “Forms in the Realm of Time,” and George Kubler's The Shape of Time Some Remarks on Artwork and History Based on Reflections from and about Erwin Panofsky Auguste Rodin, Aby Warburg, and the Movement of ImagesĪrt as a Form of Time. George Kubler and the Question of Time and Temporality Manifestation of New Relationships Between Man and Woman: A Crystallization of the Exploration and Incorporation of Marxist Thought The Temporal Dimension in Surrealist Paintings of the Late 1930sĬarlfriedrich Claus's Speech Sheets Procedural. ![]() Picasso's Work in the Dadaist Photomontages Notes on Wolheim's Concept of the Internal Spectator ![]() Temporality in Sixteenth- and Seventeenth-Century Herbal BooksĬatching a Glimpse through Time. “Whatever I Photograph, I Always lose.” Images of Death and Configurations of Time in Peeping Tom and Vacancy The Poetic Use of the Moving Body in Contemporary Time-Based Practices Place and Time in Robert Smithson's Works “Here, everything moves nothing is dead here.” Perpetuum Mobile and Time Control in the Work of Paul Scheerbart and Bruno Taut Figures of Movement and Perception in Marcel Proust's À la recherche du temps perdu Art as Experiment under the Spell of VitalismĬonfiguring Poetic Time. On Perceiving Dancing as Écriture Corporelle in William Forsythe's The Vertiginous Thrill of Exactitude A Laboratory for Art or for Life?Īrabesque Vision. Archipenko's Plaster Statues, or The Time of Dancing The Interaction of Dance and Abstract Art (1900–1930)ġ913. Latent Motion and the Reconfiguration of Motifsĭancing Like Mondrian Paints. From Chronophotography to Digital FilmĮdgar Degas's Ballet Classes. Laocoön and Eye Movement in ArtĪesthetic Echoes in the Beholder's Eye? Empirical Evidence for the Divergence of Theory and Practice in the Perception of Abstract ArtĬapturing Motion, Shaping Time. Italian Colonialism and Marinetti's Depiction of Africa in Mafarka the Futuristįrom Verticality to Horizontality. Karl Schnaase's Description of the Antwerp Cathedral (1834) and the Pedagogic Conditioning of the Eye During the Nineteenth Century Poetic and Media-Oriented Perception in Post-Romantic Modernism. The “Train Effect” in the Visual Am, Its Anticipation in Phantasmagoria, and Its Continuation in Film ORDERS AND REGIMES OF TIME: DISCIPLINE AND POETICS VISION IN MOTION: FRAMING AND PERSPECTIVATION ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |