Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

En 1981, une exposition dans le loft parisien du critique d'art Bernard Lamarche-Vadel, intitulée Finir en beauté, soulevait une petite tempête dans le monde de l'art : une très jeune génération d'artistes surgissait dont les oeuvres rompaient complètement avec la tradition des avant-gardes modernistes. Bientot baptisé Figuration libre, le courant, qui rejoignait ce que, à un plan international, on appela Bad Painting, se caracterisait par un emprunt en effet très libre à la bande dessinée, aux techniques du graffiti et à l'esthétique accompagnant la musique pop. Au sein de ce groupe, Herve Di Rosa se distingue aussitot par le foisonnement de son imaginaire, la densité de ses images, la mise en place de personnages fétiches. Dans les annees 1990, l'artiste entreprend de grands voyages en Amérique Latine, au Moyen-Orient, en Asie, en Afrique, à la rencontre d'artistes et d'artisans, apprenant d'eux leurs techniques traditionnelles, faisant appel parfois à leur collaboration. C'est à une veritable encyclopédie esthétique que son oeuvre s'assimile progressivement. Par ailleurs, grand collectionneur de toutes les formes d'art populaire, objets d'aéroport, objets publicitaires, tableaux de peintres du dimanche ou art brut, Herve Di Rosa a conçu la notion d'art modeste et fonde, dans la ville de Sete, le très actif Musée des Arts modestes.

Figuration libre --- Bad painting --- Di Rosa, Hervé, 1959-

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Schnabel, Julian --- Bad painting --- Nouvelle figuration --- Artiste --- Schnabel, Julian, --- Exhibitions --- Criticism and interpretation --- 20e siècle --- Painting --- Schnabel, Julian, - 1951- - Exhibitions --- Schnabel, Julian, - 1951- - Criticism and interpretation --- Schnabel, Julian, - 1951 --- -Painting

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Dutch literature --- Arts, Modern --- Literature, Modern --- History and criticism. --- History and criticism --- Arts --- Littérature --- Histoire et critique --- #KVHA:Kunst --- 7.01 --- Kunsttheorie ; Joost Zwagerman over kunst en literatuur --- Zwagerman, Joost --- kunst --- kunsttheorie --- esthetica --- Rothko Mark --- Pollock Jackson --- Hopper Edward --- Guggenheim Peggy --- kunstmarkt --- Castelli Leo --- Saatchi Charles --- Picasso Pablo --- Verenigde Staten --- Parijs --- New York --- Marden Brice --- Twombly Cy --- Duchamp Marcel --- Bad painting --- Richter Daniel --- Dumas Marlene --- Hirst Damien --- Nooteboom Cees --- Warhol Andy --- Reed Lou --- Malanga Gerard --- Koons Jeff --- Crewdson Gregory --- Breukel Koos --- Arbus Diane --- Leibovitz Annie --- Sontag Susan --- Madonna --- Hardwick Elizabeth --- Fens Kees --- Foster Wallace David --- Updike John --- literatuur --- kunst en literatuur --- Bril Martin --- Salinger J.D. --- Nabokov Vladimir --- Brouwers Marjan --- Amis Martin --- Wolfe Tom --- Naipaul V.S. --- Roth Philip --- Cremer Jan --- Ford Richard --- Franzen Jonathan --- Wolff Tobias --- Easton Ellis Brett --- Cunningham Michael --- Moss Kate --- pornofilms --- filmt --- van Gogh Vincent --- van Buuren Maarten --- Campert Remco --- Lohues Daniël --- 7.01t --- Kunst ; theorie, filosofie, esthetica --- Kunstbeschouwing ; Joost Zwagerman over kunst en literatuur --- Naipaul V.S --- Salinger J.D --- Histoire et critique. --- Arts, Modern - 20th century --- Literature, Modern - 20th century - History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Can painting transform philosophy? In Inventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy.Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history, The New Science. Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed"--

Painting --- Art and philosophy --- Painting, Italian --- Painting, Baroque --- Truth. --- Philosophy. --- History --- Vico, Giambattista, --- Aesthetics. --- Analogy. --- Andrea Vaccaro. --- Andrea del Sarto. --- Anecdote. --- Annibale Carracci. --- Anthropomorphism. --- Atheism. --- Atomism. --- Augury. --- Bad Painting. --- Baroque painting. --- Caravaggio. --- Caravaggisti. --- Carlo Maratta. --- Cartesianism. --- Catherine of Siena. --- Certainty. --- Certosa di San Martino. --- Chiaroscuro. --- Cimabue. --- Classical mythology. --- Classicism. --- Consciousness. --- Cubism. --- Daniello Bartoli. --- Democritus. --- Depiction. --- Divine Truth. --- Divine judgment. --- Divine providence. --- Domenichino. --- Drapery. --- Epicurus. --- Exorcism. --- Fall of Simon Magus (Pompeo Batoni). --- Falsity. --- Flagellation of Christ. --- Francesco Solimena. --- Giambattista Vico. --- Giotto. --- God the Father. --- Guido Reni. --- Henri Bergson. --- Iconoclasm. --- Iconography. --- Illustration. --- Jules Michelet. --- Las Meninas. --- Libri Carolini. --- Lodovico Dolce. --- Luca Giordano. --- Lucretius. --- Ludovico Carracci. --- Mannerism. --- Metaphor. --- Metonymy. --- Michelangelo. --- Museo del Prado. --- Neoplatonism. --- Painting. --- Paragone. --- Parmigianino. --- Penitential. --- Pentimento. --- Petrarch. --- Philosopher. --- Philosophical skepticism. --- Pietro Aretino. --- Pietro da Cortona. --- Poetry. --- Putto. --- Religion. --- Rhetoric. --- Roman Baroque. --- Sacristy. --- Saint Dominic. --- Saint Francis Receiving the Stigmata (van Eyck). --- Salvator Rosa. --- San Domenico Maggiore. --- San Gregorio Armeno. --- Scientific skepticism. --- Simon Magus. --- Skepticism. --- Spanish art. --- Still life. --- Tenebrism. --- The Carracci. --- The Expulsion of Heliodorus from the Temple. --- The Gay Science. --- The New Science. --- The Philosopher. --- Theology. --- Thomas Aquinas. --- Tintoretto. --- Titian. --- Tommaso Campanella. --- Zeuxis.