By Paul Smith, Carolyn Wilde
The spouse presents an obtainable serious survey of Western visible artwork concept from assets in Classical, Medieval and Renaissance notion via to modern writings.
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Extra info for A Companion to Art Theory
In descriptions of paintings and sculptures they are praised because they show persons represented true to life; only voice or breath is missing, it is said in many literary descriptions. This has been understood as a strong realistic or naturalistic tendency in the Greek audience far from the obvious idealism which we can see in classical Greek sculpture. But the ancient will to life-likeness was not realism or naturalism in a modern sense. It expressed the most fundamental trait of what is called the Greek art revolution, which happened most dramatically around the turn of the century 500 bc.
In order to see that the painting represents a house you must know what kind of things houses are. e. ‘man-made dreams for those who are awake’ in Plato’s formulation. Finally, these man-made dreams can be used in many different ways, for many different purposes and under vastly different circumstances. They appear in religious contexts, they can be used in political propaganda, they serve as entertainment, as educational tools and as pornography. To use them as works of art is a cultural tradition and behaviour with its roots in antiquity and in the theory of mimesis but not developed as a social institution of its own until the eighteenth century.
3 Seneca (1967) Epistulae morales 65, trans. by R. M. Gummere, Loeb Classical Library, p. 1–2, trans. by E. C. Marchant, Loeb Classical Library, pp. 10–11, trans. by O. J. Todd, Loeb Classical Library, p. 2, trans. by O. J. Todd, Loeb Classical Library, p. 421 Further reading Else, Gerald F. (1957) Aristotle’s Poetics: The Argument, Harvard Else, Gerald F. (1958) ‘ “Imitation” in the ﬁfth century’ Classical Philology 53 pp. 73–90 Halliwell, Stephen (1986) Aristotle’s Poetics, Duckworth Kristeller, Paul Oscar (1965) ‘The modern system of the arts’, in Renaissance Thought II: Papers on Humanism and the Arts, Harper Torchbooks, pp.