J. M. W. Turner

Quando aceitamos como descritor da poesia de Castro Alves o rótulo abolicionista, enfatizamos aquele que é possivelmente seu aspecto histórico mais A legitimidade dessa leitura não delimita, contudo, umafronteira de atuação crítica, posto que a ela se acrescenta uma perspectiva dialética.

Table of contents:

Remerciements
Avant-propos
Introduction. Réfléchir (sur) la sensation (Lucie Lagardère, Anne-Laure de Meyer, Marina Poisson)
PREMIÈRE PARTIE : PHILOSOPHIE ET ART
Chapitre 1.
La couleur : de la sensation à la création. Turner et Locke. (Maxime Chapuis)
Chapitre 2.
Regards croisés entre Hume et Bramante : la sensation humienne face au Christ à la colonne. (Florence D'Aupias d'Alcochète)
DEUXIÈME PARTIE : HISTOIRE ET REPRÉSENTATION
Chapitre 3.
La sensation comme outil politique : les représentations anglaises de l'exécution de Charles Ier au XVIIe siècle (Anne-Laure de Meyer)
TROISIÈME PARTIE : LITTÉRATURE ET CRÉATION
Chapitre 4.
Feeling et construction imaginative chez S.T. Coleridge. (Lucie Lagardère)
Chapitre 5.
La sensation dans The Scarlet Letter : de l'oppression du sujet à la création libératrice. (Marina Poisson)
Chapitre 6.
Le dérèglement des sens dans Naked Lunch de William S. Burroughs. (Edouard Marsoin)

Limpet "A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient. ... I am an adherent of ... the Carrier Bag Theory of human evolution. ... [T]he hero doesn't look well in this bag. He needs a stage or a pedestal or a pinnacle. You put him in a bag and he looks like a rabbit, a potato."-Ursula K. LeGuin J.M.W. Turner, "War. The Exile and the Rock Limpet" I remember the first academic conference I ever attended as a Romanticist. It was on Romantic Historicism, hosted in Aberystwyth, Wales, in summer 2004, and began its plenary welcome with a rich consideration of the J.M.W Turner painting, "War. The Exile and the Rock Limpet" (1842). The figure of Napoleon that we considered that day was a revenant: diminished, outmaneuvered by the sheer number of reactionary forces and the tide of events, and haunted by a historical reason that itself-on peril of dissertation and job for anyone starting out in their career-was not to be understood as selfpossessed. The hero (as, for example, Napoleon stood always in essayist William Hazlitt's eyes) had passed through the anti-hero stage (as in Lord Byron's contempt for defeated Napoleon, "abject-yet alive!") onto the phase where names as tropes are harder to find.

The year 1823 saw the foundation of the British Academy of Arts in Rome, in Via di S. Isidoro, a stable drawing class, the result of the cooperation between the first English artists who arrived in Rome after the Restoration. With phases of total abandonment and attempts to relaunch, the academy survived for over a century and, progressively accessible to nonBritish too, it was frequented by several great names of the European artistic 19th century.
Following the dispersion of the academic archive in 1946, there have been several attempts to reconstruct the history of the institution, inevitably incomplete and often inaccurate. Thanks to the contribution of new primary sources, this essay aims to provide: a timely chronological reconstruction of the foundation process; an identification of the artists who took part in the first activities; an analysis of the concrete reality of the institution at its dawn. In particular, on the basis of a previously never investigated link between the new academy and the British Institution of London, a new hypothesis will be put forward on the motivations of the notoriously conflicting relationship between Anglo-Roman artists and the Royal Academy, which never wanted to recognize the British Academy of Rome as its branch.

Dissertation submitted in partial fulfilment of the requirements for the HEC Degree of Executive MSc in Consulting and Coaching for Change. 2004.

The paper presents a contingent and scaleable Framework for Leadership activities built around a set of organizing principles – Envision, Enable, Empower and Energize. This reflects literature review, best practices from the corporate world and practical experience in both business and non-profit Leadership positions. The Framework is designed to provide both a measurement method and a process for improvement. It is not a test of absolute Leadership ability, skill, behaviour or performance.

The 4E’s Framework includes both operational and organizational aspects of Leadership, and can be used either by individuals or teams, underlining its scaleability.

Data from self assessments is evaluated, suggesting face, content, internal, and divergent validity of the Framework. The analysis also identifies differences in self-perception of Leadership activities across the world and at various experience levels.

A global case study with one of the world’s leading NGO’s provides an example of practical utility of the 4E’s Framework, and forms the basis for future analysis of predictive validity.

This article examines critical responses to J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying, Typhon Coming On (1840), and John Ruskin’s 1843 critique of the painting, in the years following the publication of David Dabydeen’s Turner (1994). The representation of drowning slaves in Turner’s painting, and in Ruskin’s art criticism, has resulted in the emergence of something of a critical consensus in which both figures are seen to either neglect or take pleasure in the subject of slavery.  The purpose of this article is to explore available evidence and to argue that insufficient attention has been paid to Turner’s painting, to his politics, and to his purpose in Slavers; to Ruskin’s objectives in critiquing Turner; to distinctions between Ruskin’s imperialism and his position on slavery; and to his examination of Turner’s painting.  In a corrective to recent critical assumptions, I hope to suggest that in these instances claims made on these issues often rest on shaky foundations, and that it is possible for more sustainable readings of Turner’s painting and Ruskin’s criticism to emerge.

The melancholic landscape is important to how we view landscape art and the following long research paper will look at how other artists and I express the emotion of melancholy through landscape. The artworks of nineteenth century romantic landscape artists – like Friedrich and Turner – have inspired contemporary dystopian landscape artworks by artists like: Anselm Kiefer, Emma Stibbon and Jason Hicklin. The emotional expression of alchemy and melancholy in landscape artworks will be unpacked in this paper.

La storia - l’Illuminismo (1750-1850)
I motivi della rottura con l’arte tradizionale
• A partire dalla metà del XVIII secolo si forma una filosofia dell’arte estetica. È allora che si produce una profonda rottura nella tradizione artistica e ha inizio il nuovo ciclo storico dell’arte, quello che si chiama moderno o contemporaneo. L’arte non viene più riferita ai grandi ideali conoscitivi, religiosi, morali, ma ad un ideale specificamente estetico. Si afferma così l’assoluta autonomia della sfera dell’arte e contemporaneamente si pone il problema del suo coordinamento alle altre attività umane, cioè del suo posto e della sua funzione nel sistema generale della cultura dell’epoca.
Questo cambiamento della tradizione figurativa si determina a causa di due fattori.
• Uno è la cultura dell’Illuminismo, secondo cui la natura non è più la rivelazione dell’ordine certo e immutabile della creazione, ma semplicemente l’ambiente dell’esistenza umana, individuale e sociale; non è più un modello, ma uno stimolo a cui variamente si reagisce.
- Quello che era il valore assoluto e a priori della natura come rivelazione o modello dato dall’alto, nell’arte moderna viene sostituito dall’ideologia intesa come immagine che la mente si fa della realtà come si pensa che sia o come si vorrebbe che fosse. Il pensiero dell’Illuminismo, che è all’origine della cultura moderna, non pone la natura come una forma data e immutabile, che si può soltanto imitare o rappresentare: la natura che gli uomini percepiscono con i sensi, interpretano con l’intelletto, mutano con l’agire (è infatti dal pensiero dell’Illuminismo che nasce la tecnologia moderna, che non ripete la natura ma la muta) è già una rappresentazione mentale che ha nella mente tutti i suoi possibili sviluppi.
• Un altro motivo che, nel Settecento, determina la fine di quello che potremmo chiamare il ciclo classico e l’inizio del ciclo romantico o moderno è la trasformazione dei mezzi tecnici di produzione, con tutte le conseguenze che comporta nell’ordine sociale e politico. Era inevitabile che la nascita della tecnologia industriale, determinando la progressiva crisi dell’artigianato, provocasse la trasformazione delle strutture e delle finalità dell’arte, che della produzione artigianale aveva rappresentato il culmine, la ragione metafisica, il modello. Il trapasso dalla tecnologia dell’artigianato, che utilizzava le materie e imitava i processi della natura, alla tecnologia industriale, che agisce sulla natura trasformando rapidamente l’ambiente, è una delle cause principali della crisi dell’arte moderna: esclusi dal sistema tecnico-economico della produzione, gli artisti diventano intellettuali borghesi in rapporto di tensione e spesso di aspra polemica con la stessa classe dirigente di cui fanno parte. I rapidi sviluppi del sistema industriale, sia sul piano sociale sia sul piano tecnologico, spiegano il continuo mutare degli orientamenti artistici, il succedersi delle tendenze o delle poetiche, la loro forte accentuazione ideologica, i loro contrasti.
Le fasi
• Nella prima fase preromantica si sviluppano due poetiche, sublime e pittoresco, e successivamente verso gli inizi dell’800 anche la poetica del paesaggio.
• La seconda fase è quella Neoclassica, fino all’inizio del 1800, influenzata da grandi scoperte, come quella archeologica di Pompei. Dal punto di vista teorico vi sono due importanti figure:
1. Winckelmann, architetto ma soprattutto teorico che tratta di classicità in molte delle sue opere. Ritiene che è in Grecia che si è sviluppata la parte più creativa della classicità, inclusi gli ordini architettonici.
2. Mengs, architetto boemo, opera anche a Roma. Sostiene che l’apporto dei romani era fondamentali per l’uso dell’arco e del sistema trittico, dando ai Romani un’identità distinta, ma non più o meno importante. I Romani inseriranno dei loro modelli architettonici tra i quali il tuscanico (ripreso dai fenici, correzione del dorico) e il composito. In generale, il Neoclassicismo riprende i canoni greci e latini, seguendo la proporzione, l’armonia e la bellezza delle forme.
- La bellezza nella classicità è data dalle proporzioni e dall’armonia. Nei ritratti veniva infatti divisa la grandezza del viso per poi riproporlo secondo le grandezze armoniche tra loro.
- L’armonia nasce allora dalla proporzione, una consonanza di distanze metriche. Viene definita da Policleto attraverso il canone policleteo e via via con lo sviluppo di altri
- La natura nel classico è positiva (“mediterranea”), che invita alla pacificazione dell’uomo con il mondo. Dal punto di vista culturale, la classicità è associata al mediterraneo.
• La terza fase (1820-1850) è quella della reazione romantica. Tra le figure più influenti ci sono: Schlegel (teorico tedesco), Novalis (poeta tedesco), Viollet Le Duc (teorico francese), Pugin e Ruskin (architetti inglesi). Quest’ultimo scrive libri come “The seven lamps of architecture” e “The stones of Venice”, che tratta il concetto di restauro romantico.
- Sullo scenario italiano abbiamo Lodili e Miuzia, che si occupano di edifici pubblici e su come l’architettura deve essere funzionale allo stato.
- La bellezza romantica non è stereotipata ma dissonante e si ritrova in elementi che mancano di armonia, suscitando una bellezza nuova determinata dall’irregolarità e un’attrazione inspiegabile.
- La natura è nordica, minacciosa, oscura e fredda, che a volte suscita anche timore, ma che allo stesso tempo affascina, facendo scaturire il sublime.
• In generale, Neoclassicismo e Romanticismo costituiscono due importanti fasi di uno stesso processo storico, che risultano tra loro profondamente connesse sul piano artistico e culturale nonostante le loro differenze. Sia gli uni che gli altri, infatti, vivono alla costante ricerca di forme espressive che si dimostrano in grado di far evadere dall’insoddisfazione di uno oggi in sempre continua e spesso troppo rapida evoluzione.
- Mentre il Neoclassicismo si fa promotore del ritorno dell’ordine, ispirandosi ai modelli classici, il Romanticismo esalta la fantasia e la sensibilità personale.
- Il modo di vedere e sentire la natura rende perfettamente l’idea della contrapposizione di logica fra i due movimenti: l’artista romantico si sette parte integrante della natura e vi si immerge profondamente, mentre l’artista neoclassico, al contrario, si sforza di rimanerne estraneo e di indagarne razionalmente le caratteristiche al fine di padroneggiarla, negandole qualsiasi valore poetico ed espressivo e usandola come elemento di contorno.
- L’arte neoclassica non vuole quindi essere imitatrice della natura ma dei modelli ideali che di essa hanno elaborato i classici. Ne consegue, però, che mitizzando l’età classica come l’età dell’oro, il Neoclassicismo compie fatto un’operazione assolutamente irrazionale, contraddicendo le sue premesse illuministe e preludendo in modo chiaro a quella che sarà la reazione romantica verso le dimensioni della soggettività.
I concetti dell’arte estetica
• Distinguendo un “bello pittoresco” ed un “bello sublime” Kant distingue due giudizi che dipendono da due tipi di atteggiamento dell’uomo nei confronti della realtà: su di essi, e sulla loro relazione dialettica, fonda infatti la “Critica del giudizio”, dove organizza tre categorie estetiche:

إعادة نشر مقتطفات من متن تمهيد كتاب قصة الفن الحديث
تلخيص أقرب الى الترجمة لرمسيس يونان عن تأليف المؤرخة الامريكية سارة نيوماير Sarah Newmeyer
الناشر: مكتبة الانجلو المصرية 1960.
الكتاب الاصلي بعنوان Enjoying Modern Art وصدر عام 1955.
Reinhold Publishing Corporation; First Edition, First Printing edition (1955)

As Turner’s career progressed, his interest in the purely beautiful descriptions of English landscape quickly dwindled, as he was captivated by Sublime expressions of interior landscape, or what the romantic poet Wordsworth called, “the picture of the mind.” In this way, Turner’s oeuvre provides the unique opportunity to trace the trajectory of the Picturesque under the lens of one consistent artistic media (painting).

This paper will address this transitory phase of Turner’s career in two parts. First, I will look at Turner’s 1804 painting, The Goddess of Discord Choosing the Apple of Contention in the Garden of the Hesperides as the first trace of Turner’s use of landscape not as a record of external reality but rather as a vehicle for conveying the mind’s expression of the Sublime. In the second part of this paper, I will look at Turner’s representations of his Grand Tour of Italy, (specifically his representations of Rome) where Turner is faced again with the reconciliation between aesthetic traditions of the Classical and artistic motives of the Sublime.

Already detached from the popular romances of Tintern Abbey, but not quite submersed in the monstrous horrors of Hannibal Crossing the Alps and Slaveship, my research will look at this transitory phase from 1806-1820, in which Turner experiments
with the bricolage of the Picturesque-Sublime.

The second best known theoretical work of the Irish politician and philosopher Edmund Burke, 'A Philosophical Enquiry into the Origin of ou Ideas of the Sublime and Beautiful' (1957), is overshadowed by Burke's political work. But although the 'Enquiry' is not Burke's magnum opus, it still is a very important work that deserves more attention than it gets these days, for several reasons.
In the first part of this paper we will examine Burke's Enquiry, focusing on his concept of the Sublime. In the second part I hope to point out some of the similarities between Burke's theory and William Turner's practical application of those rules, by studying some of his famous paintings.

In 1871 a shadow came across the page of that "cloud-worshipper," John Ruskin (6:75). After praising meteorology, in his youth, as a "science of the pure air, and of the bright heaven" (1:208), and extolling "cloud beauty" throughout Modern Painters (7:133-99), Ruskin confronted in the "black heavens" of industrial pollution a threat to his familiar models for moral, aesthetic, and political instruction (27:204). 1 In Fors Clavigera (1871-1884), The Art of England (1883), and The Storm-Cloud of the Nineteenth Century (1884), he launched a sustained attack on a society destroying its atmospheric and moral bearings in the service of political economy.

Du paysage idéalisé au paysage naturel ou de la nature idéale à la matière Claude peut être considéré comme le principal maître de Turner […]. Quelle quantité de procédés il apprit de lui, je ne saurais le dire; mais une chose est certaine, c'est qu'il n'arriva jamais tout à fait à sa hauteur sur ce point [ le traitement pictural du soleil ] où Claude excellait. J'imagine que la façon dont il posait la couleur était si méthodique qu'il était impossible qu'elle fût imitée par un homme chez qui des centaines de pensées et d'intentions, totalement différentes de celles de Claude, troublaient le mécanisme du travail; et je suppose en outre que certains principes utiles de traitement de la peinture, complètement ignorés de nos écoles à présent, étaient parvenus jusqu'à Claude, légués par les Vénitiens. Turner finit par renoncer à cette tentative, adopta un procédé à lui, qui lui permettait de réaliser des intentions impossibles à atteindre d'aucune autre façon. 1 Par ces lignes, John Ruskin met tout autant en évidence la filiation qui existe entre Claude 2 et Turner que les différences qui s'expriment dans leurs oeuvres. Si ces deux peintres ont en commun une attirance pour la peinture de paysage, ce qui les différencie est la façon dont ils appréhendent et pensent la nature. Et, si Ruskin se focalise dans ce passage sur un point de divergence particulier entre les deux artistes – leur manière de peindre le soleil – c'est parce que ce point précis reflète, à lui seul, une différence dans les techniques picturales, lesquelles, à leurs tours, sont le reflet, la conséquence d'une divergence conceptuelle portant sur la nature. Dès lors, pour comprendre la raison pour laquelle un paysage peint par Le Lorrain est éminemment différent d'un paysage de Turner, pour comprendre également les dissemblances techniques entre ces deux peintres, il nous faut apprécier ce que Ruskin nomme leur " intention " respective face à un paysage. Or, si cette intention est faite du choix du paysage à représenter, elle est aussi et surtout constituée par la pensée que développent ces deux artistes sur la nature. Autrement dit, Claude et Turner nous invitent à penser la distinction entre nature et paysage puisqu'ils nous montrent que c'est toujours la réflexion sur la nature qui détermine la manière dont le paysage sera peint. Par conséquent, que s'est-il passé en peinture en un siècle et demi pour que l'iconographie du paysage connaisse une telle évolution ? Pour répondre à cette interrogation, il nous faut en venir aux divergences théoriques sur la nature qui séparent Turner du Lorrain et, pour évaluer les fondements et implications de ces divergences, nous nous intéresserons à la manière dont ces deux peintres traitent le mouvement dans leurs représentations dans la mesure où ce traitement est le reflet paradigmatique de leur pensée respective sur le monde naturel. Le Lorrain ou l'apogée du paysage idéalisé. Si Claude n'est ni le théoricien ni l'inventeur du paysage idéalisé, il est sans doute le peintre qui a le plus exploré les ressources qu'offre le principe d'idéalisation du paysage.

La mostra, curata da Alessandro Barbieri e Francesca Moruzzi, è prodotta dal Museo Civico di Crema del Cremasco e costituisce il momento di presentazione degli straordinari dipinti acquisiti dall’istituzione culturale cittadina a fine 2021 grazie alla generosità degli Eredi di Marina Stramezzi e al sostegno di Fondazione Comunitaria della Provincia di Cremona e Associazione Popolare Crema per il territorio Banco BPM.
La rassegna si focalizza su una sessantina di opere provenienti da quella incredibile raccolta di capolavori che fu la collezione di Paolo Stramezzi conservata presso villa La Perletta in Crema.
A Paolo Stramezzi (Moscazzano, 1884 - Cannes, 1968) va, innanzitutto, riconosciuto il pregio di aver istituito presso la sua dimora uno dei salotti culturali più autorevoli e in vista del Nord Italia, arredandone le pareti con un numero così elevato di opere d’arte da poter fare concorrenza ai più prestigiosi musei nazionali.
Egli fu un fine amante e conoscitore dell’arte, mecenate e grande collezionista. Si narra che tra le mura della sua residenza siano transitate nel corso della sua vita più di un migliaio di dipinti. Alla base di questa consistente raccolta stanno anni di fitti rapporti intessuti con gli artisti, con gli antiquari ed esperti d’arte dai quali Paolo seppe sempre farsi ben consigliare. La sua non era certo una collezione statica, tutt’altro, era viva, dinamica e sempre in divenire, ordinata e arricchita per oltre mezzo secolo con acquisti, vendite, permute e scambi.
Una raccolta privata, la sua, selezionata seguendo il proprio gusto personale che seppe anticipare anche certe evoluzioni stilistiche e collezionistiche dell’arte italiana, come il forte interesse per i cosiddetti pittori Macchiaioli dei quali Stramezzi fu uno dei maggiori raccoglitori.
L’esposizione è pensata in tre sezioni: un omaggio al collezionista, le opere comprese fra il Quattrocento e l'Ottocento e la parte dedicata alla pittura novecentesca.

Considerado por excelencia como el "pintor de la luz", Turner (1775-1851) fue un innovador conceptual y técnico en la representación y sublimación del paisaje integrando las técnicas de la acuarela en la pintura al óleo y adelantándose medio siglo al impresionismo e influyendo en el siglo XX al expresionismo abstracto.
Dos exposiciones sobre el enigmático pintor inglés en el Musée National des Beaux Arts du Quebec y el Museo Tate de Londres, respectivamente, permiten examinar pese a sus disimiles enfoques curatoriales el enfoque dialéctico - luz y oscuridad - y a la vez espiritual en su pintura según Juan Carlos Flores Zúñiga, en su crítica para Ars Kriterion E-Zine.

The manner in which modern museum architecture can inflect the historical conditions of an object's creation and display is explored in this personal response to the installation of John Constable's cloud studies at the Yale Center for British Art. Constable created these studies outdoors, often noting the time of day, weather, and season on the verso, suggesting that he was interested in capturing nature's most ephemeral atmospheric effects. The top-floor galleries of the ycba regularly undergo dramatic fluctuations of light, which are a product of the building's skylight scheme, designed by Richard Kelly in consultation with Louis Kahn. These changes in natural light levels are often as fleeting as the effects Constable strove to record, reanimating the ephemeral conditions of his sketches' making. I ground my discussion of this happy marriage between the modern museum and the historical work of art in artistic debates from Constable's time over lighting effects in the museum and studio.

John Ruskin’s cloud aesthetics develop a coherent, if figurative, inquiry into the nature of human liberty. His changing accounts of cloud formations across Modern Painters gradually place more emphasis on liberty within a framework of restraint and self-government. Attending to the shifting and equivocal senses of liberty in Ruskin’s aesthetic writings helps clarify his scattered, often incompatible assertions in a range of later social and political tracts. Bridging aesthetic criticism with political writings uneasily poised between liberalism, republicanism, and authoritarian conservatism, this article discovers Ruskin as the theorist of a dynamic, aesthetic model of liberty and just social arrangements.

The Sublime was a popular theme of the Romantic era both in literature and painting, best exemplified in the work of Joseph Mallord William Turner (1775-1851), as an overwhelming sense of awe tinged with fear that arose when one is confronted with Greatness, specifically in the vastness and powerful forces of nature.

Best known for his swirling visions of light and color, J. M. W. Turner’s sketches and paintings of ruins are often overlooked in discussions of the artist’s evident interest in the aesthetic theory of the sublime. From his beginnings as a topographical draughtsman to his final “modern” works, ruin – both natural and built – pervaded.  One of the subjects most suggestive of the sublime in art and in literature is the ruin; they are the “haunts of the catastrophic imagination of man” and symbols of desolation, fallen greatness, and fantasy. In 1819, Turner embarked on his first tour of Italy, filling twenty-three sketchbooks with depictions of Rome’s famed ruins. The trip shaped his artistic practice, specifically in his visual communication of the sublime. His sketches show the artist grappling with how to portray ruins, especially for their experiential powers. Ultimately, he found the sublime to be the most profound and effective method to faithfully recreate the experience of ruins. When he returned to England, Turner’s artistic experimentation and expression evolved and dissolved, as did the ruins he painted. The dissolution and abstraction of forms so central in Turner’s later paintings mirror the dissolution of the ruins he no doubt took inspiration from.

The influence of process metaphysics on the development of abstraction between 1800 and the second half of the 20th century can best be exemplified with the case of the American Expressionist painter and theoretician Robert Motherwell (1915-1991). Taking as its starting point Motherwell’s exposure to the History of Idea of Romanticism, Arthur O. Lovejoy’s yearlong seminar at Harvard (1937-38), the artist’s affinity with fluid forms through motion brushstrokes in Romanticist painting is analyzed as a preformative stage of his own transitory creations. This is done by structural comparison between Motherwell’s written reflections and Romanticist art theory. Motherwell’s specific perception through Bergson’s and Whitehead’s lens of immanence and multiplicity, I argue, resonates Lovejoy’s principle of ‘‘Romantic Evolutionism,’’ in its turn from being to becoming, derived from the philosophies of the Spiritualist Maine de Biran and the Idealist-Empiricist George Berkeley.

The focus of the present research is a search for the underlying form and colour principles that define a harmonious atmosphere. As underlying driving questions it is possible to outline: how does geometry and colour define and sustain the values of the harmonious atmosphere?' The underlying search of the work, thus is a desire to understand the conscious and unconscious forms and colour harmonies that define, sustain and compose the atmospheric work of art and their connections to universal principles. For this, the research turns to William Turner's creations and artistic compositions; firstly understanding conceptually and secondly by analyzing fifteen of his paintings individually, so as to draw specific principles and criteria relating them to universal ideals. Turner's work was chosen for his use of the landscape in the communication of values and timeless principles; an example of the invisible hidden geometric orders and colour properties that define the artistic imagery and language. In other words, 'How does Turner use 'harmony' to define 'timelessness' and universal principles?' Be it as an overall image (the general) or in the detail, every work embodies an ''aura'' and that aura is studied and understood through the principles inherent to it, that define its 'formal' and 'intangible' essence. So too, with Turner, this research aims at uncovering. His work, relying in an inherent harmony and balance, through the use of composition, forms and colour, will be the focus of the present research, with the aim of uncovering the inherent properties and universal principles that underlie his complex atmospheric and harmonious creation.

s famous phrase, landscape is a 'way of seeing'. 2 One can consider 'seeing' here from various angles and at various levels of abstraction; seeing might sometimes be a form of touch, for example. But always, as a way of seeing, landscape is some configuration of nature and culture, object and subject. In debate at the theoretical level, however, about the form of this configuration, there is a tendency for different points of view to hold themselves outside the nature-culture relation that they set out to envision. While this withdrawal is perhaps the prerogative of theory, it is also important to analyse how even apparently abstract and theoretical formulations of just what seeing means are themselves embedded in landscape. In this essay I consider in particular the polemics issued by and addressed to the theorists gathered under the banner of 'phenomenology', a way of seeing landscape that originates in the eighteenth century. If we trace the controversy over phenomenology to its origins, we find that the theoretical concerns that propel the controversy are entangled in the particular landscape of Greece. I argue, specifically, that the conflict between landscape's theoretical forms is inscribed in this landscape by the singular quality of its natural light. In the case of Greece, landscape is not only a particular way of seeing: it is a way of seeing vision itself.

Gísli Magnússon’s philosophically rich article explains Knausgård’s aesthetic project as an attempt, against and after poststructuralism, to return to the issues of disenchantment and re-enchantment so prominent in Romantic aesthetic theory. His argument carefully links Knausgård’s aesthetics of epiphany to the category of the “open” in Hölderlin and Rilke, while also giving a prominent place to the aesthetic thought of the contemporary Danish philosopher Dorthe Jørgensen, whose conception of “immanent transcendence” he uses to account for the role of epiphany in Knausgård’s writing.

This is a paper given at the conference Prosthesis in Early Modern Art and Science (Munich, 21 Jun 19), organized by Ulrich Pfisterer, Marisa Mandabach, and Bernhard Seidler (Ludwig-Maximilians-Universität, München). For an elaborated, annotated and peer-reviewed version of the paper, see Matthias Krüger: Malen am Stock, in: Marburger Jahrbuch für Kunstwissenschaft 47 (2020), S. 149–172.

I am very thankful for Marisa Mandabach for the English translation.

The article is in French but here is an abstract in English:
J.M.W. Turner’s hyperbolic and experimental use of the colour yellow would often evoke surprise from his contemporaries. While often discussed as one of the main entry points of critical discourses on his work, the study of colour has often neglected its material dimension. This article proposes a reassessment of the importance of yellow, less as a colour, than as material pigments and substances carrying commercial and epistemological values in Turner’s work.

Un'indagine nella storia dell'arte e un laboratorio didattico seguendo il filo di quella creatività che nasce da un dialogo con le possibilità della materia e con un "prompted chance", un caso provocato che conduce ad una immagine più potentemente evocativa.

The conference will examine the subject of painters’ materials and ateliers from a multidisciplinary perspective: papers will include contributions from art historians, conservators, restorers, physicists and chemists. The main themes will be: the reconstruction of relationships between artists and companies producing fine arts materials, their marketing, supply and communications which targeted artists, the coeval image and today’s reconstruction and musealization of the painter’s studio materials. Besides presenting single case-studies, the conference aims to propose a methodological discussion on the study of the painter’s studio materials as a means of examining the painter’s technique and practice in the Nineteenth and Twentieth centuries.

One of the architectural typologies that the 19th century gave birth is, without a doubt, the greenhouse. The Crystal Palace epitomizes a function in which nature and art cooperate, a relationship that in the eyes of two of the most severe theorists and art critics of the time, John Ruskin and Gottfried Semper, is inadmissible. Either from the consideration of the social use of art, either from the definition of architecture for its monumentality, both authors condemn the large-scale construction in glass and iron.

In occasioni di presentazione di una mostra e di un’artista, la pittrice Giovanna Rasario, c’è sempre un divario nella lettura critica, quasi poli opposti, con in mezzo molte le sfumature. Cioè scegliere tra la storia e la presentazione biografica dell’artista e della sua opera, la sua evoluzione e i suoi ultimi risultati, oppure al contrario, intervenire sul come leggere e interpretare e comprendere l’opera dell’artista, o meglio, come si usa dire, come stare davanti al quadro: critica d’arte rispetto ad un approccio solo storico se non cronachistico. 

In questo caso, i soggetti e le modalità di rappresentare, la produzione di Rasario mi hanno davvero spinta a preferire la presentazione e lettura e, come direbbe Clark, a ritornare più volte in osservazione del quadro: di ciò che, pur nel suo “stare fermo”, cioè appunto la materialità e mineralità del quadro stesso, evoca in noi meditazioni riflessioni sentimenti.

Per aiutare questa lettura, ricordo che Rasario lavora e dipinge dal 1964, ha iniziato con nature morte, poi ritratti e paesaggi e, nel tempo, è passata da un iniziale stile figurativo ad uno stile via via più astratto, mantenendo però il colore centrale nella sua produzione.

In particolare è dal paesaggio, con accenti sempre maggiori, che l’artista arriva ai quadri astratti in mostra, in cui quasi il paesaggio rappresentato è quello degli elementi invisibili ma pur reali: energia, luce, materia e antimateria.

Leggiamo analiticamente le opere: innanzitutto la pittura il colore i supporti i materiali.
.....

David Roberts (1796-1864) y Genaro Pérez Villaamil (1807-1854) fueron dos de los grandes paisajistas del Romanticismo europeo. A través de sus vistas de monumentos, ciudades y paisajes, animadas a menudo con escenas costumbristas, contribuyeron a forjar una imagen romántica de España que puede rastrearse hasta nuestros días.

El presente catálogo, que acompaña a la exposición del mismo nombre celebrada en la Real Academia de Bellas Artes de San Fernando, ofrece nuevas perspectivas sobre el diálogo entre la obra de uno y otro en el contexto del descubrimiento cultural de España, el Norte de África y Oriente Medio por los viajeros artistas del siglo XIX. Empleando un enfoque comparativo, once especialistas encabezados por Claudia Hopkins, comisaria de la muestra y directora del volumen, abordan en los seis textos y las más de 120 fichas que lo integran las trayectorias de ambos pintores desde su primer encuentro en Sevilla en 1833.

Aquí se analiza por primera vez en profundidad la influencia de Roberts sobre Villaamil y se señalan las notables diferencias en la visión que cada uno tenía de España. Para Roberts, se trataba de un país exótico y atemporal, mientras que Villaamil, aun compartiendo la fascinación del escocés por Andalucía, volvió su atención más hacia el norte, desmontando los tópicos presentes en la obra de aquél y ofreciendo la imagen de una España católica que se estaba abriendo al progreso y la modernidad. En la década de 1850, ambos ofrecieron una respuesta similar a los cambios que el progreso estaba operando en sus respectivos países.

El catálogo, que incluye obras inéditas, está profusamente ilustrado con dibujos, pinturas y grabados, pero también con manuscritos y piezas de cerámica que permiten al lector establecer numerosos paralelismos.

Claudia Hopkins es catedrática y directora del Zurbarán Centre for Spanish and Latin American Art en la Durham University. Antes de entrar en Durham en 2020, fue profesora de Historia del Arte en la University of Edinburgh y coeditora de la revista Art in Translation, financiada por la Fundación Getty. Hopkins centra sus investigaciones en el arte español de los siglos XIX y XX y en las relaciones culturales angloespañolas. En 2009 hizo aportaciones muy significativas a la exposición The Discovery of Spain: British Artists and Collectors. Goya to Picasso (National Gallery of Scotland). Además, ha escrito artículos y capítulos de libros, y ha coeditado los volúmenes Pascual de Gayangos: A Nineteenth-Century Spanish Arabist (con C. Álvarez-Millán, 2009), Orientalism and Spain (con A. McSweeney, 2017) y Hot Art, Cold War (2 vols., con I. B. Whyte, 2020).

Update on Writing Projects, including how the Mystical Realities of the Bible and Qur'an permeate (hitherto hiddenly) the fields of theology, poetry, philosophy, and art. And how these Mystical Realities are connected also to Hindu Scriptures, including Chandogya Upanishad and the Bhagavad Gita.

Joseph Mallord William Turner, (1775-1851) Ingiliz Romantik hareketinin niteligini gorsel formda temsil etmis ve 19. yuzyil resim sanatina isik ve rengin ‘eterik’ ifadesinde maneviyati ve duygusalligi kazandirmistir. Gorseli sinirlayan klasik formullerin kisir tekrarini reddederek, ‘yapisal yoksunluk’ tarziyla fiziksel dunyayi soyutlastirmis ve resme ‘proto-ekspresyonist’ bir gorunum ve ifade kazandirmistir. Rasyonaliteyi simgeleyen kontur sinirlamasindan kurtulan renk ve isik, (“sinir ve hattan yoksun”) sfumato gorunumuyle ozgurlugun carpici ifadesidir; boylece Viktorya doneminin kliselesmis ‘musvik doga’ anlayisinin aksine, insanliga kayitsiz ve zalim tutumuyla ‘yikici’ bir doga anlayisini “siirsel” anlatiyla temsil eder.

Abstract: Sadi Carnot's Réflexions sur la puissance mortice du feu has had been recognized as a first step in what we now call the second law of thermodynamics. Named after Carnot, the theoretical engine that would attain the utmost efficiency is now thought in all curricula. In Portugal it is introduced at 10th grade following a general trend in European countries. At this level of schooling, most students are asked to solve problems related to the computation of efficiency and/or heat losses at diverse situations more or less related to real life problems. However, there isn't done in textbooks any relevant connection between Carnot engine, engineering – from where Carnot obtained his insights-history of Industrial Revolution and, more generally, 1800 European history, physics and art, particularly paintings. This web of connections, akin to Holton's " tapestry of cross connections " would favour a more inclusive science education for it is directed to all students and not only to the ones interested in follow university. With this work we intend to present a pedagogical approach to introduce the second law of thermodynamics that would surpass the above mentioned limitations.