Painting and presence : why paintings matter [electronic resource] / Anthony Rudd.

By: Rudd, Anthony [author.]Material type: TextTextLanguage: English Series: Oxford AcademicPublisher: Oxford : Oxford University Press, 2022Edition: First Edition published in 2022Description: 1 online resource (256 pages) : illustrationsContent type: text Media type: computer Carrier type: online resourceISBN: 9780191946608 (eISBN)Subject(s): Painting | Painting, Modern | Painting -- Philosophy | Sculpture | Painting -- Technique | Post-impressionism (Art)Genre/Form: Electronic books.Additional physical formats: Print version :: No titleLOC classification: ND1130 .R83 2022Online resources: https://doi.org/10.1093/oso/9780192856289.001.0001 Also available in Print and PDF edition.
Contents:
Preface and Acknowledgments -- Introduction -- PART ONE -- 1. Do Paintings Matter? The Platonic Challenge -- 2. Truth (and Goodness) in Painting -- PART TWO -- 3. Painting and Presence -- 4. Painting as Revelation: The Icon as Paradigm -- 5. Making the Invisible Visible: Merleau-Ponty -- 6. Expression and Form -- PART THREE -- 7. Metaphysical Implications: Essences, Concepts, Value -- 8. Natural Beauty -- 9. The Re-Enchantment of the World -- 10. Painting, Beauty, and the Sacred -- Bibliography -- Index.
Abstract: This book is concerned with why (or whether) paintings have value: why they might be worth creating and attending to. I start from the challenge expressed in Plato's critique of the arts generally according to which they do not lead us to what is true and good, and may take us away from them. I try to show that this Platonic challenge can be answered in its own terms, that painting is good because it does lead us to truth. What paintings can give us is a non-discursive 'knowledge by acquaintance' in which the essence of the painting's subject matter is made present to the viewer. I trace this understanding of painting as ontologically revelatory from the theology of the Byzantine icon to classical Chinese appreciations of landscape painting, to the work of Merleau-Ponty and other Phenomenologists inspired by European Modernist art. I argue that this account of painting as disclosing the essences of things can also take up what is right about expressive and formalist theories of painting and that it can apply as much to abstract as to representational painting. But disclosing the reality of things can only be of value if the reality disclosed is itself of value, and in the concluding part of the book I argue that the value of painting can only be properly understood in the context of a wider metaphysics or theology in which value is understood not as a human projection but as a basic characteristic of reality as such.
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Includes bibliographical references (pages 231-240) and index (pages 241-244).

Preface and Acknowledgments -- Introduction -- PART ONE -- 1. Do Paintings Matter? The Platonic Challenge -- 2. Truth (and Goodness) in Painting -- PART TWO -- 3. Painting and Presence -- 4. Painting as Revelation: The Icon as Paradigm -- 5. Making the Invisible Visible: Merleau-Ponty -- 6. Expression and Form -- PART THREE -- 7. Metaphysical Implications: Essences, Concepts, Value -- 8. Natural Beauty -- 9. The Re-Enchantment of the World -- 10. Painting, Beauty, and the Sacred -- Bibliography -- Index.

This book is concerned with why (or whether) paintings have value: why they might be worth creating and attending to. I start from the challenge expressed in Plato's critique of the arts generally according to which they do not lead us to what is true and good, and may take us away from them. I try to show that this Platonic challenge can be answered in its own terms, that painting is good because it does lead us to truth. What paintings can give us is a non-discursive 'knowledge by acquaintance' in which the essence of the painting's subject matter is made present to the viewer. I trace this understanding of painting as ontologically revelatory from the theology of the Byzantine icon to classical Chinese appreciations of landscape painting, to the work of Merleau-Ponty and other Phenomenologists inspired by European Modernist art. I argue that this account of painting as disclosing the essences of things can also take up what is right about expressive and formalist theories of painting and that it can apply as much to abstract as to representational painting. But disclosing the reality of things can only be of value if the reality disclosed is itself of value, and in the concluding part of the book I argue that the value of painting can only be properly understood in the context of a wider metaphysics or theology in which value is understood not as a human projection but as a basic characteristic of reality as such.

Also available in Print and PDF edition.

Description based on Publisher website; title from home page (viewed on June 27, 2022).