CARL EINSTEIN Y EL UMBRAL HEURÍSTICO DE LA PINTURA
[EN] Throughout history the relationship between philosophy and painting has drawn round trips that have borne fruit in theories and works closely intertwined. Particular interest have, in this sense, the contributions of the German theorist Carl Einstein, prominent member of the first Vanguard and...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2014 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/51103 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/51103 |
| Access Level: | acceso abierto |
| Palabra clave: | Painting Forces Cubism Metamorphosis Subject Reception Pintura Fuerzas Cubismo Metamorfosis Sujeto Recepción PINTURA |
| Sumario: | [EN] Throughout history the relationship between philosophy and painting has drawn round trips that have borne fruit in theories and works closely intertwined. Particular interest have, in this sense, the contributions of the German theorist Carl Einstein, prominent member of the first Vanguard and author of a highly original reading of the painting marked by an acute antikantism and by the Empiriocriticism of Ernst Mach. According to Einstein, the simultaneous dilution of subject and object in the process of creation and reception of painting is capable of operating major changes in the individual and, in full harmony with the ideals of the Vanguard, in the very configuration of reality |
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