| Peer-Reviewed

On the Philosophy of the Thing in Modern Paintings

Received: 14 May 2023     Accepted: 9 June 2023     Published: 21 June 2023
Views:       Downloads:
Abstract

In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression.

Published in International Journal of Literature and Arts (Volume 11, Issue 3)
DOI 10.11648/j.ijla.20231103.18
Page(s) 147-151
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2023. Published by Science Publishing Group

Keywords

Heidegger, The Thing, Object Things, The Earth, World, Modern Painting, Form, Spirit

References
[1] Arnheim, R. (1974). Art and Visual Perception: A Psychology of the Creative Eye. University of California Press.
[2] Cabanne, P. (2009). Dialogues with Marcel Duchamp. Da Capo Press.
[3] Chipp, Herschel B. (1984). Theories of Modern Art: A Source Book by Artists and Critics. Oakland: University of California Press.
[4] Fry, R. (2018). Cézanne: A Study of His Development (3rd edition). New York: Noonday Press.
[5] Gasquet, J. (1991). Cezanne: a Memoir with Conversations. London: Thames & Hudson.
[6] Gombrich, E. H. (2013). La historia del arte (Edición 2a). Editorial Oceano de México [The Development History of Art (2nd edition)].
[7] Heidegger, M. (2002). On the Beaten Track, edited and translated by Julian Young and Kenneth Hayes. Cambridge: Cambridge University Press.
[8] Kandinsky, W. (1998). Concerning the Spiritual in Art. M. T. H. Sadler (Translator), New York: Dover Publications.
[9] Kiefer, A. (2018). L'arte sopravvivrà alle sue rovine. Milano: Feltrinelli [Art will survive its ruins].
[10] Mondrian, P. C. (1986). The new art - the new life the collected writings of Piet Mondrian. G. K. Hall.
[11] Reißer, U., & Wolf, N. (2003). Kunst-Epochen: 20. Jahrhundert II. Reclam, Philipp, jun. GmbH, Verlag [The History of Western Art in 20th Century, 2nd Volumn].
[12] Rothko, M. (2004). The Artist’s Reality: Philosophies of Art. Yale University Press.
[13] Gompertz, W. (2013). What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art. New York: Plume.
[14] Sun, Zhouxing. (2019). Resisting Mediocrity with Creation: Lectures on Art Phenomenology. Beijing: The Commercial Press.
[15] Sun, Zhouxing. (2021). Art Creates Mystery. Beijing: The Commercial Press.
Cite This Article
  • APA Style

    Cui Jianjun. (2023). On the Philosophy of the Thing in Modern Paintings. International Journal of Literature and Arts, 11(3), 147-151. https://doi.org/10.11648/j.ijla.20231103.18

    Copy | Download

    ACS Style

    Cui Jianjun. On the Philosophy of the Thing in Modern Paintings. Int. J. Lit. Arts 2023, 11(3), 147-151. doi: 10.11648/j.ijla.20231103.18

    Copy | Download

    AMA Style

    Cui Jianjun. On the Philosophy of the Thing in Modern Paintings. Int J Lit Arts. 2023;11(3):147-151. doi: 10.11648/j.ijla.20231103.18

    Copy | Download

  • @article{10.11648/j.ijla.20231103.18,
      author = {Cui Jianjun},
      title = {On the Philosophy of the Thing in Modern Paintings},
      journal = {International Journal of Literature and Arts},
      volume = {11},
      number = {3},
      pages = {147-151},
      doi = {10.11648/j.ijla.20231103.18},
      url = {https://doi.org/10.11648/j.ijla.20231103.18},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20231103.18},
      abstract = {In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression.},
     year = {2023}
    }
    

    Copy | Download

  • TY  - JOUR
    T1  - On the Philosophy of the Thing in Modern Paintings
    AU  - Cui Jianjun
    Y1  - 2023/06/21
    PY  - 2023
    N1  - https://doi.org/10.11648/j.ijla.20231103.18
    DO  - 10.11648/j.ijla.20231103.18
    T2  - International Journal of Literature and Arts
    JF  - International Journal of Literature and Arts
    JO  - International Journal of Literature and Arts
    SP  - 147
    EP  - 151
    PB  - Science Publishing Group
    SN  - 2331-057X
    UR  - https://doi.org/10.11648/j.ijla.20231103.18
    AB  - In the history of modern painting, there has been a hidden thread revolving around the concept of the ‘thing’. The study attempts to explore this thread through Heidegger’s aesthetics of truth. In his essay The Origin of the Work of Art, Heidegger highlights the conflict between the earth and the world within a work of art, which is the basis for the emergence of truth in existence. He argues that the essence of a work of art lies in its ability to embody the truth of existence within itself. Starting from this point, this paper delves into the examination of objects in artworks, extending to an analysis of forms in modern painting history as well as objects as a key component of art. In the history of modern painting, the form construction direction initiated by Cezanne gradually took a leading role. However, with the advent of abstract art, the materiality of objects began to emerge and finally manifested itself. This development marked the end of the direction of form construction in modern painting and paved the way for the exploration of material research, thus opening up the history of contemporary art. Overall, Heidegger's aesthetics of truth can be seen as a valuable tool for understanding the role of objects in art and their relationship to the truth of existence. By examining the evolution of form and materiality in modern painting, we can gain a deeper appreciation for the complexity and richness of artistic expression.
    VL  - 11
    IS  - 3
    ER  - 

    Copy | Download

Author Information
  • College of Humanities, Tongji University, Shanghai, China

  • Sections