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Metaphysical painting (Italian: pittura metafisica) or metaphysical art was a style of painting developed by the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began in 1910 with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, "painting that which ...
Metaphysics is related to many fields of inquiry by investigating their basic concepts and relation to the fundamental structure of reality. For example, the natural sciences rely on concepts such as law of nature, causation, necessity, and spacetime to formulate their theories and predict or explain the outcomes of experiments. [131]
R. G. Collingwood suggested in his published work title, The Principles of Art, that the theory of art was developed upon the theory of the world. [9] Collingwood states in his work that art is imaginary by using the example that if one creates music based on their imagination then a tune is an imaginary thing. [12]
[2] [3] Thus, while philosophy characteristically inquires into the nature of being, the reality of objects, the possibility of knowledge, the nature of truth, and so on, metaphilosophy is the self-reflective inquiry into the nature, aims, and methods of the activity that makes these kinds of inquiries, by asking what is philosophy itself, what ...
Schopenhauer claimed that art provides knowledge of eternal Platonic Ideas and also results in temporary relief from the pressures of willing. Arthur Schopenhauer 's aesthetics result from his philosophical doctrine of the primacy of the metaphysical Will as the Kantian thing-in-itself , the ground of life and all being.
According to Aristotelian physics and metaphysics, causation can be divided into formal, material, efficient and final causes. The formal cause of beauty is the passion of love; the material cause concerns aspects of certain objects such as smallness, smoothness, delicacy, etc.; the efficient cause is the calming of our nerves; the final cause ...
Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...
There has also been some resurgence of interest in the sublime in analytic philosophy since the early 1990s, with occasional articles in The Journal of Aesthetics and Art Criticism and The British Journal of Aesthetics, as well as monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow. As in the postmodern or critical theory ...