By Freeland, Cynthia A
ISBN-10: 0191576182
ISBN-13: 9780191576188
ISBN-10: 0199234981
ISBN-13: 9780199234981
In Portraits and Persons, considered one of our prime philosophers of paintings illuminates the attention-grabbing and primary questions posed through this enduring artwork shape. Cynthia Freeland's dialogue is remarkably free-wheeling. for instance, in contemplating the easy query of even if it is easy to have a portrait of an animal, she levels from Descartes and Darwin to William Wegman's "May Ray" and David Hockney's dachshunds, and he or she sheds gentle on such matters as even if animals own soul, brain, or individuality of personality. certainly, through the publication, Freeland addresses a complete host of attention-grabbing philosophical difficulties posed through the artwork of portraiture. How precisely have artists throughout the a long time controlled to depict the interior kingdom of the topic being portrayed? Is it in reality attainable for an artist to catch a persons person "air," their distinct air of mystery? and the way has technology been used to aid during this quest? that includes greater than fifty halftones, this can be a thrilling philosophical exploration of portraiture that highlights its vital contribution to the complicated evolving discourse approximately human nature
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Additional info for Portraits and persons : a philosophical inquiry
Sample text
Since dogs, cats, and horses have featured in particular in the work of artists in the West, I will pay special attention to such works. I will argue that, surprisingly perhaps, most of the best-known 31 ANIMALS paintings that depict these animals should not really be counted as portraits. In a nutshell, this is because the animals are either employed as symbols or as mere pieces of property, rather than as unique individuals bearing an inner life and personality. Cats are the other best-known species of domesticated companion animals, so let me begin with a word about them.
Of course, Berger acknowledges that we have numerous technological aids to enhancing our own examination of animals, in the form of the video or film camera, the telephoto lens, the infrared detector, etc. ’ He appears to yearn for an earlier time when peasants had more intimate exchanges with animals and animals were able to ‘look back’. This ‘looking back’ is an intriguing notion that, as I mentioned above, can be fostered by certain portraits. If an artist succeeds in fulfilling all of the conditions of portraiture, then we would as a result be able to ponder an image that shows the 23 ANIMALS subject as a recognizable individual with an inner mental state and an expressive air.
This varies with age and mental condition, obviously; but the awareness of being photographed seems to develop quite early in young children. They learn early to pose and tend to put on what I call their ‘say cheese’ expression, with teeth bared in a big fake smile. 17 My point is that in the human case at least, besides the two initial requirements that I have said a portrait must meet— physical delineation and indication of interior states—there is a third condition: the subject consciously presents a self to be conveyed in the resulting artwork.
Portraits and persons : a philosophical inquiry by Freeland, Cynthia A
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