Communications in Humanities Research
- The Open Access Proceedings Series for Conferences
Communications in Humanities Research
Vol. 16, 28 November 2023
Open
Access | Article
Visual Subversion: The Purism Strategy of Western Modern Art
* Author to whom correspondence should be addressed.
Abstract
In the early 20th century, the modernist revolution in the Western world had reached its peak, along with twice world-war, the world capital of art has been moved from Europe to America. In such a complex and unpredictable period, many artistic strategies were taken up, the purism strategy is one of the most radical and influential strategies, it marked the impeccable achievement of Western idealism. The practice of such a strategy initially happened in Europe and later was developed in the United States. However, in these two places, the strategy was practiced with different approaches, within the construction of Panofsky’s mechanism of vision, one focuses on visual identification and another focuses on visual perception. The two approaches not only mean different ways of seeing art but also imply different sensible orders, which need to be reflected and reexamined in a political dimension that has been settled between the United States and Europe after the 20th century.
Keywords
purism strategy, visual perception, visual identification, visual recognition, sublime
References
1. Jacques, R, (2004) The Distribution of the Sensible, Cornwall: MPG Books Lrd, pp21.
2. Greenburg, C, (1940) Towards a Newer Laocoon, Partisan Review, VII, no.4, New York, July-August, pp296.
3. Kubler, G, (1961) Disjunction and Mutational Energy, ARTnews, 59(10), pp.34.
4. Panofsky, E, (1972) Renaissance and Renascence in Western Art, New York: Harper& Row, pp.25.
5. Bois, Y.-A, (1993) Painting as Model, England: the MIT press, pp203.
6. Newman, B, (1948) The Sublime is Now, excerpt from “The Ides of Art, Six Opinions on what is sublime in Art?”, Tiger’s Eye, no.6, pp52-53.
7. Panofsky, E, (1944) Renaissance and Renascence, The Kenyon Review,Vol.6, no.2, pp.222.
8. Lyotard, J.-F., (1988) The Lyotard Reader, New Jersey: Wiley-Blackwell, pp240.
9. Lyotard, J.-F., (1988) The Lyotard Reader, New Jersey: Wiley-Blackwell, pp247.
10. Mitchell, W.J.T, (1989) Ut Pictura Theoria: Abstract Painting and the Repressing of Language, Critical Inquiry, Vol.15, no.2, winter, pp354.
Data Availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See Open Access Instruction).
- Volume Title
- Proceedings of the International Conference on Global Politics and Socio-Humanities
- ISBN (Print)
- 978-1-83558-165-0
- ISBN (Online)
- 978-1-83558-166-7
- Published Date
- 28 November 2023
- Series
- Communications in Humanities Research
- ISSN (Print)
- 2753-7064
- ISSN (Online)
- 2753-7072
- DOI
- 10.54254/2753-7064/16/20230465
- Copyright
- 28 November 2023
- Open Access
- This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited