Manet's Modernism, or, the Face of Painting in the 1860s

Fried, Michael

doi:10.2307/432379

Cited by 34 publications

(23 citation statements)

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“…As a case study I will use an example drawn from art history, an oil painting by Manet, The Luncheon on the Grass (c1863), which makes for a pertinent case study as, firstly, it has a wealth of art historical scholarship that focuses upon the meaning of its stylistic traits in terms of what is depicted and its socio-political contexts (Bataille 1955;Fried 1996), but less so in terms of the materiality of paint and it's the perceptual / cognitive dimensions. Secondly, the group of sitters at the center of the composition are a re-appearance of a group of river gods taken from Marcantonio Raimondi's earlier engraving of the Judgment of Paris (c1510-1520) which themselves can be traced back to an engraving on a Roman sarcophagus depicting the Judgment of Paris from the third century AD (Fig.…”

Section: Metaplasticity Rendered Visible In Paintmentioning

confidence: 99%

Metaplasticity rendered visible in paint: How matter ‘matters’ in the lifeworld of Human action.

Woodward

2017

Phenom Cogn Sci

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Recent theoretical and philosophical movements within the study of material culture are more carefully attending to the variety of ways in which human artefacts, institutions, and cultural developments extend, shape and alter human cognition over time. Material Engagement Theory (MET) in particular has set out to map, explore and understand the relational nature of mind and material world as can be read through cultural artefacts. Within the context of MET, the neurological concept of metaplasticity has been expanded to include the affective domains of technology, materials, and things in the neurological development and architecture of the plastic human mind; a 'transactional' relationship between a plastic mind and a plastic material world that are correlated at the ontological level. The challenges of mapping this metaplasticity of mind lie in understanding how the mind and material culture should be understood in relation to the constantly changing lifeworlds of humans over time; the ecological, social, technological and environmental contexts that form the historical specificity of cognitive development. This paper explores how the historical specificity of metaplasticity can be made tangible through the study of material culture, focusing upon the particular activity of oil painting. It will be argued that paintings can provide clues to the historical specificity of the mind that crosses the lifeworld of human action; the technological, phenomenological, philosophical, material, and social conditions underpinning the creation of a painted mark. Drawing from a range of sources that have a root within a Deleuzian process philosophy, the paper builds an account of painting that can be read as expressing the encultured and historical manipulation of paint as an expressive material in itself; an action rendered visible that express the historical emergence of mind.

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Section: Metaplasticity Rendered Visible In Paintmentioning

confidence: 99%

Metaplasticity rendered visible in paint: How matter ‘matters’ in the lifeworld of Human action.

Woodward

2017

Phenom Cogn Sci

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“…1 For Greenberg the response to the crisis of the arts in the nineteenth century, their sense of a progressive failure of direction meant they needed to demonstrate their distinction and separateness or become assimilated to mere entertainment which in turn would join hands with therapy. Greenberg goes on:…”

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confidence: 99%

Editorial: ‘The Liveliest Medium’: Television's Aesthetic Relationships with other Arts

Jacobs¹,

Peacock²

2014

Critical Studies in Television: The International Journal of Te

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“…Genre painting shows "daily life in its typical commonness," and was a popular visual form from the mid-18 th century onwards with common people absorbed in modest activities with no asides, that is, showing no awareness of the spectator. According to Michael Fried (1998), absorption was challenged in early modernist painting -Manet's Olympia (1863) being a notable example -but was again absorbed by the medium itself in the painterly abstraction of high modernism. Olympia presents a nude woman, or rather a woman wearing only her slippers, reclining on a bed.…”

Section: Introductionmentioning

confidence: 99%