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La Philosophie aujourd'hui; La philosophie de l'art; Goethe; Les chemins du labyrinthe; Qu'est-Ce Que Le Beau; Goethe, science et philosophie; Le "Voyage en Italie" de Goethe; La philosophie au XXème siècle. Introduction à la pensée. philosophique. contemporaine. Essai et textes, Paris, Hatier, 1988
La Psychologie de l'Art (The Psychology of Art) is a work of art history by André Malraux. The book offers an explication of Malraux's philosophy of art via the history of Western painting. It was originally published in three volumes: The Imaginary Museum (1947); The Artistic Creation (1948); and Aftermath of the Absolute (1949).
L'or des images : art, monnaie, capital (in French), La Dispute, Paris, 2015; Communisme et stratégie (in French), Amsterdam, Paris, 2019; Avec Marx, philosophie et politique (in French), interviews directed by Alexis Cukier and Isabelle Garo with Alain Badiou, Etienne Balibar, Jacques Bidet, Michael Löwy and Lucien Sève, La Dispute, Paris, 2019
While The Logic of Sensation is sometimes viewed as a work of art history, Deleuze's wrote that the primary motivation for creating the work was to explore the philosophy of art. He also sought to explore the conceptualization of art beyond the representation of an image. The text was translated into English by Daniel W. Smith in 2003. [2]
In 1996, she defended her thesis entitled Théorie de l’art et philosophie de la sociabilité selon Shaftesbury (Theory of Art and Philosophy of Sociability according to Shaftesbury), at Paris Nanterre University with Geneviève Brykman, her thesis director, [5] Didier Deleule, Jean-Paul Larthomas, Michel Malherbe, and Pierre-François Moreau.
Gilles Louis René Deleuze (/ d ə ˈ l uː z / də-LOOZ; French: [ʒil dəløz]; 18 January 1925 – 4 November 1995) was a French philosopher who, from the early 1950s until his death in 1995, wrote on philosophy, literature, film, and fine art.
For roughly half a decade, and for the vast majority of his groundbreaking career, Christian Pulisic could be confidently described as a winger.He was a versatile attacker who often wore a No. 10 ...
All that you see here—the architecture and all the other features—merely provided the occasion for the real work of Art, which lies in the distribution of light and dark." This, he held, was precisely the essence of Rembrandt's art. As it was, he showed only a "lantern slide" of the companion painting by Salomon Koninck discussed above. [53]