Ortega y Gasset - La deshumanizacion del musicmarkup.info Uploaded by Mariel Pretell. Save. Ortega y Gasset - La deshumanizacion del musicmarkup.info For Later. save. que conecta 'Mundo cerrado' con Ortega y La deshumanización del arte ized' art famously theorized by José Ortega y Gasset in La deshumanización del arte. Ortega Y Gasset Spanish Edition is available on print and digital edition. This pdf ebook is one of digital edition of La Deshumanizacion Del Arte Y.
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Why do some animal, vegetable and mineral elements take their particular form in nature? How can the form meet structural needs? Felix Candela has examined several times the meaning of architectural work and specifically the role of the engineer who turns forms into concrete. Agreeing with Pier Luigi Nervi, F. Some advances have appeared in Formalismo e filosofia delle strutture. Evoluzione tecnologica del calcestruzzo.
Once art is emptied of all that's pathetically human, it stands without any transcendence, —just art, no pretensions. The last essays also address the change of vision. First, paintings and philosophy , are looking at the short distance objects, and painters paint those objects, their voluminous nature.
Then, the artists look to the distance, and try to depict those objects that are further away, there's the search for perspective, -trying to find a geometric arrangement, and chiaroscuro, as transitions between painting objects to trying to paint the space we perceive when we stop looking at what we have in front, and when we try to paint the whole of what's perceive as we project our sight into the distance.
Painters pay attention to the space, and start painting the space Velazquez in Las hilanderas, or Las meninas.
When they look at a scene or a landscape, they now paint their 'vision' of it Impressionism , they don't go after 'reality', but they give us their idea of reality, thus painting what's subjective to them.
Autumn Effect at Argenteuil, by Claude Monet. Art is now painting 'ideas', cubism. He says art started to bring the outside to the canvas, and continued to bring the inside to the canvas, to end, -in his times-, focused on art itself.
This is why many of us claim we don't like new art, -we say that to mean, a we got it but it's not our cup of tea, b we don't understand it, thus we can't enjoy it. And if we don't understand art, it's probably because artists were left with just this one more thing to explore, -art itself.
I don't know about you, but this resonated true to me. With art from the XX century up to now, the moment I know something about the artist, what he was trying to accomplish, what he meant in art's timeline, -the new questions, new dilemmas, new techniques, the artist uncovers-, the more I can understand and thus appreciate.
Altamira Paintings Part of the first essay, also, is his explanation of what he calls: primitive man, classic man, oriental man, Mediterranean man, and Gothic man. In his Meditations on Don Quixote, he also talked about Mediterranean man and Gothic man, and here I understood that difference even better. Those type of historic man go hand in hand with their view of reality, and the art they left us. Ortega talks to us a lot about literature too, -in his view, art, literature, philosophy, history, they are all, needless to say, connected.
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Write a customer review. Many embraced the deshumanizackon as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century. Please verify that you are not a robot.
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Showing of 1 reviews. JosE Ortega y Gasset was a philosopher and for many years held the chair of metaphysics at the University of Madrid.