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全文: "幻想絵画"
3件中 1-3の結果を表示しています
  • 塩谷 純
    史学雑誌
    2004年 113 巻 5 号 783-786
    発行日: 2004/05/20
    公開日: 2017/12/01
    ジャーナル フリー
  • 松下 哲也
    美学
    2014年 65 巻 1 号 61-72
    発行日: 2014/06/30
    公開日: 2017/05/22
    ジャーナル フリー
    Henry Fuseli(1741-1825)'s works that have supernatural subjects such as ghosts, demons, or fairies, are often painted with very strong contrast of light and shade. But in his Lectures on Painting, he claimed that such are not legitimate chiaroscuro, and too strong beam or ray must be a "terror on the eye", because chiaroscuro is a method to compose art in literary unity, and the unity is "inseparable from legitimate chiaroscuro" for his "poetic imitation" theory. Some latter studies show us that Fuseli's paintings have visual elements of theatres and shows like magic lantern or phantasmagoria. But, these observations are not enough to illustrate his method and context of phenomenon, because his art historical discipline that affected to his composition has not been well mentioned yet. Supernatural beings are often painted as forms in nearly "illegitimate chiaroscuro", which means, he painted them as superpictorial beings that alien to whole composition. His style of gothic horror was based on his meta-painting strategy and it was established by applying visual context of modern entertainment to his art historical discipline.
  • 中村 義一
    美学
    1973年 24 巻 1 号 16-29
    発行日: 1973/06/30
    公開日: 2017/05/22
    ジャーナル フリー
    Shigeru Aoki is most often taken as the unfortunate and unfinished genius par excellence in modern Japanese art history. The range of criticism on his art is generally governed by the nature of this unfinishedness. Very little has directly been written on finito and non-finito in his pictures, although he is discussed in most works dealing with individual artists and in the various histories of modern Japanese painting. The salient characteristic of Aoki's art is uncompleteness, but this is not to suggest that his short life offers any clarification of non-finito in his pictures. To anyone regarding the subject, many questions will appear. In the first place, how far was "Gifts of Sea", Aoki's best known and most romantic work, completed? What caused the final uncomplete conditions after all? How far has "Palace under the Sea" been finished off in fact? How far have the contemporaries penetrated to the essential quality of these paintings they seemed to admire? His art seems to capture in his naive romanticism, in his sensitive symbolism and in his ruined mind the essence of subjectivism in modern art.
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