Kontinuiteta in diskontinuiteta v slikarski misli od Cézanna do sodobnega slikarstva

Abstract

V besedilu se ukvarjam z ontologijo slikarskega mišljenja in njegovo diskontinuiteto, ki jo najbolj radikalno nakaže postmodernizem. Osvetlim bistvene vidike slikarskega mišljenja in temeljne korake v miselno-oblikovalskem procesu, začenši z modernizmom, ki ga povezujemo z osamosvojitvijo medija in posledično z največjim poglabljanjem v morfologijo slike. Slikarskemu mišljenja sledim od Cézannovega analitičnega pogleda, od koder so vzniknili vsi veliki premiki, preko t.i. primarnega oziroma analitičnega slikarstva z Rymanom do Polkeja, čigar delo zaznamujejo že nove interdisciplinarne medijske in tehnološke rešitve ter dekonstrukcija modernističnega enotnega sloga, vendar v doslednih in kompleksnih slikovnih rešitveh ne predstavlja diskontinuitete. V zadnjem delu skušam analizirati slikarske spremembe in pristope v današnjem postpostmodernem času - kako se je namreč slikarstvo preoblikovalo v okviru postmodernistične, po Dantojevo posthistorične umetnosti, ki se ne presoja več z vizualnega, temveč s konceptualnega vidika. S stališča slikarstva kot avtonomne prakse razmišljam o intencionalnosti slike, o njeni medijski transformaciji in o problematiki sodobnega slikarstva.

Keywords

Modernizem;Slikarstvo;Postmodernizem;

Data

Language:	Slovenian
Year of publishing:	2005
Typology:	1.01 - Original Scientific Article
Organization:	UL FDV - Faculty of Social Sciences
UDC:	316.7
COBISS:	24248157
ISSN:	0040-3598
Parent publication:	Teorija in praksa
Views:	469
Downloads:	127
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	Unknown
Secondary abstract:	In the essay I examine ontology of painterly thought and its discontinuity which was brough about by postmodernism. I attempt to provide insight into the basic aspects of painterly thought and the most important shifts in mental and pictorial process starting with modernism which initiated the autonomy of painting. As a corollary, modernism is very much concerned with the morphologyof pictorial field. I follow painterly thought from Cézanne's analytical approach, which indicated all the following paradigm changes, through primary or analytical painting with Ryman, to Polke, whose work is marked by new interdisciplinary media and technological resources as well as by the deconstruction of the modernist unique style, yet, in complex and meditated pictorial formulations, he does not present discontinuity. In the last part of the essay I attempt to analyze changes and attitudes as have occured in contemporary postpostmodern time. What are the major painterly transformations in the context of postmodernist, according to Danto posthistorical art, which is no longer evaluated from visual but rather from conceptual point of view? From the point of view of painting as an autonomous praxis I meditate on painting's intentionality, its media transformations and its problems.
Secondary keywords:	Modernism;Painting;
Type (COBISS):	Not categorized
Pages:	str. 506-524
Volume:	ǂLetn. ǂ42
Issue:	ǂšt. ǂ2/3
Chronology:	apr./jun. 2005
Keywords (UDC):	social sciences;družbene vede;sociology;sociologija;sociology of culture;cultural context of social life;sociologija kulture;
ID:	1467948