| Description |
A consciousness of past art history that was based on a superficial understanding of the nature of reality in which painting remained tied to an ideal of scientific representation has led me to make an account about the expansion of man's reality in art. This is a philosophic activity that I have indulged in because the method I adopt is an affirmation of a set of ideas about the aesthetic faculty. I discuss Impressionism, Neo-Impreastontsm, Cezanne, the Nabts, Van Gogh, Gauguin and Symbolism, Matisse, Picasso, Surrealism, Jackson Pollock, and Marcel Duchamp, who constitutes a repertory of many new ways of defining pictorial space. And I describe rather by showing effect than by deplcting directly by speaking through authors with recognizable voices--sort of borrowed abstractions having to do with their view of reality concerning painting not as a history but a personal reaction to and involvement with. More than ever before each age now reflects upon itself, its limitations and its individuality. The aesthetic activity is biological in its nature and functions. Technical research, the invention of new materials. the changing architectural environment, social factors of many kinds, will continue to call for experiment, and for a redefinition of previously held values and goals. What 1 say in this thesis has to do with these ideas and others. 1 felt myself plunged into a radiant and mobile medium that was none other than the pure element of ttme+-ttmeta common flow, an environment quite different from the spatial world. 1 cannot claim that 1 had a coherent plan in mind all this time. The reader is bound to be disconcerted by the way I shift with little or no warning from the position of the spectator to that of the creative artist. The influences. the beginnings, seeing, fumbling, working, moving, freedom, all of these evolutions are expressed in verbal terms and are so infinitely complicate that my mind will never be able to comprehend it in its wholeness. |
