11/18/2023 0 Comments Rene magritte reflection painting![]() ![]() The first chapter reveals how and why the writer's readings, and subsequent re-writings, of fine art theory/history, permit them to selectively focus on, and inflect, the themes (identified above), detectable and available in the fine art theories of the "sister arts" and the "separate" arts which they read and cite. The thesis is structured in four chapters. ![]() The study demonstrates how and why the writers' fascination with seeing fine art, compounded by reading its theories/histories, produced their own essays engaging with it it evaluates how and why fine art/its theories assist with their themes/aesthetics, provide images for their creative praxis, and supply a focus for self-reflection on the capacities/incapacities of language and literary forms which they engage in, and which conscript (or fail to conscript) fine art images. The study demonstrates how these diverging positions are responses conditioned by, and filtered via wider, twentieth century intellectual and contextual shifts and embedded in the art history and theory the writers read and use in their texts. ![]() Yeats's emphasis on transcendence/the eternal and beauty, and Beckett's sponsorship of finitude/doubt and irony, are revealed as reinforced by, and partly built out of, the two writers' divergent responses to fine art theoretical texts, and use of fine art images. The study's conceptual framework suggests how and why enlisting fine art/its theories assisted the writers' oppositional thematics and aesthetics. Exploring how and why fine art and its theories shape these two writers' respective ideas, themes, and concepts and use of language, the study's method is comparative: it compares the writers' documented encounters with fine art and citation of its histories/theories in discursive texts in tandem with evaluating how and why fine art theories and images inspire their creative texts it's method reveals how theory and praxis pressure, complicate and modify each other. The primary focus is on the writers' relations with painting/its theories this occupies more space, quantitatively and qualitatively, in this study (as in does in the writers' texts), although sculpture, a key consideration for Yeats, and embroidery are also considered. The study's comparative framework rectifies this critical deficit to contribute new knowledge by synthesizing past individual studies and comparing more recently available sources it also provides a new slant on old knowledge in a new place. Previous studies have tended to focus on these writers' texts' literary qualities and junctures with history and philosophy: fewer have focused on fine art, and those which do have treated each writer separately. For him, they were used to express words.This thesis is the first detailed comparative study framing how and why fine art and its theories were deployed in the discursive and creative texts of two major Irish writers, W.B. Magritte was an explorer of life’s enigmas and gave way to reflection through his images. He used elements of reality in the service of mystery. He is said to have loved his furry companions quite dearly and today they help assign dates the to his photographs. No matter their colour or breed, they were called “Loulou”. Magritte had several dogs that were all named “Loulou”. That is to say, no need to dig deeper… What he saidĮverything in my work comes from the feeling of certainty that we belong to an enigmatic universe. Moreover, he was often quoted saying that everything he wanted to say is already before our eyes. Without being explicitly Surrealist, his refined compositions had little to do with Dali’s complex paintings. ![]() What’s more, Magritte’s paintings have a certain particularity about them. In direct “opposition” with André Breton, the Brussels Surrealists advocated for a conscious rendering of their memories, dreams and thoughts whereas the Parisian Surrealists sought to make unconscious creations that leapt from within their psyches. However, his genre of Surrealism is a bit different from that which began in Paris. As a Surrealist artist, Magritte shifts, moves and diverts reality. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |