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Aesthetics of art --- Visions in art.

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La notion d'apparition telle qu'elle prend forme dans des oeuvres d'art est souvent perçue comme un événement fort, inattendu, troublant. Elle relève autant d'une perturbation que d'une révélation en jouant sur les frontières entre le visible et l'invisible, l'audible et l'inaudible. Se constituant d'un ensemble de textes et de l'intervention plastique d'un artiste, cet ouvrage envisage ces enjeux à travers l'analyse d'oeuvres dans le champ des arts plastiques, du cinéma, de la littérature et du théâtre, du Moyen Age à nos jours.Ces contributions viennent souligner un paradoxe ontologique à l'apparition : si celle-ci fait bien sensation par l'émergence de formes, elle révèle cependant un manque dans la capacité à évoquer ou à représenter un événement ou un objet. Les différentes approches esthétiques, philosophiques et historiques mettent en avant les tensions qui traversent les modalités de l'apparition : révélation et perturbation, irruption et évanouissement.0Les caractéristiques inhérentes à l'apparition invitent à interroger les dimensions mystérieuses de l'image : comment en effet saisir visuellement un surgissement éphémère ? Notion carrefour, précise quoique ouverte, l'apparition révèle ici toute sa complexité et sa richesse.

Motion pictures --- Visions in art --- Visions in literature --- Visual Perception --- Aesthetics --- Visual perception --- Motion pictures - Aesthetics

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In this original and lucid account of how Spanish painters of the 16th and 17th centuries dealt with mystic visions in their art, and of how they attempted to "represent the unrepresentable", Victor Stoichita aims to establish a theory of visionary imagery in Western art in general, and one for the Spanish Counter-Reformation in particular. He reveals how the spirituality of the Counter-Reformation was characterized by a rediscovery of the role of the imagination in the exercise of faith. This had important consequences for painters such as Velazquez, Zurbaran and El Greco, leading to the development of ingenious solutions for visual depictions of mystical experience. This was to crystallize into an overtly meditative and didactic pictorial language. That Spanish painting is both cerebral and passionate is due to the particular historical forces which shaped it. Stoichita's account will be of crucial interest not just to scholars of Spanish art but to anyone interested in how art responds to ideological pressures.

Painting, Spanish -- 16th century --- Painting, Spanish -- 17th century --- Painting, Spanish -- Themes, motives --- Painting --- Visions in art

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"Expanding the state of research to include an analysis of the cultural background that led to the depiction of God, Bergmeier argues that Late Antiquity struggled with how to negotiate the Old Testament ban on images of God alongside the desire ("Visionserwartung") to have direct contact with the deity. Late Antiquity solved this paradox by depicting ephemeral visions of God, which made possible the close contact so desired. Bergmeier's research corrects a lacuna in art history, which has largely ignored the immense influence of visions in the history of the production of images. Until now the discipline has failed to recognize the full array of visionary motives and their complex, interrelated nature. The publication explores the various strategies used by late antique image-makers to visualize God, demonstrating how, on the one hand, antique visual formats were adapted for this new purpose and how, on the other, new visual solutions emerged to meet the needs of depicting the Christian God (Part Two). In contrast to the majority of early Christian images, which relied heavily on pagan models, these theophanic motives often represented new visual innovations. Finally, Bergmeier explores the phenomenological impact of images--how they created an experience of real visions. Late antique concepts of encounters with the holy are placed into dialogue with early Christian understanding of sacred spaces to demonstrate how these images produced meaning for their viewers (Part Three). Expanding upon the phenomenological research on late antique images of God, Bergmeier comes to an important and revolutionary thesis: while scholarship has assumed that these holy visions of God were depictions of a future moment, close analysis of Late Antique texts reveals that these visionary images were understood by contemporaries as images of the present moment. More than an iconographic study of theophanic images in Late Antiquity, Bergmeier's research explores for the first time the cultural history of the emergence of images of God from c. 300-750, drawing on detailed study of texts and images in equal measure (Part One). Bergmeier mobilizes theological, historical, and religious studies scholarship, connecting textual research on antique images of the gods with scholarship on Christian culture in Late Antiquity. By not only highlighting the importance of images of God in late antique culture, but demonstrating their fundamental significance as modes of direct engagement in the present moment with the otherwise invisible God, Bergmeier's scholarship radically reshapes the field of late antique art history. And through its interdisciplinary mode of inquiry, the book promises to transform our understanding of Late Antique culture."

Visions --- Christian art and symbolism --- Christian art and symbolism --- Image of God --- Art and religion --- Visions in art.

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Painting, Spanish --- Visions in art --- Visual Arts --- Painting --- Art, Architecture & Applied Arts --- Themes, motives --- Iconography --- mysticism --- Spain --- Visions in art. --- Themes, motives. --- Art, Spanish --- Mysticism and art --- Art espagnol --- Mysticisme et art --- Peinture espagnole --- History --- Histoire --- Painting, Spanish - 16th century - Themes, motives. --- Painting, Spanish - 17th century - Themes, motives. --- Spaanse school