The philosophical basis and artistic characteristics of contemporary Western painting

Auteurs-es

  • Jiawei Wang Sahmyook University

DOI :

https://doi.org/10.1590/0101-3173.2024.v47.n6.e02400328

Mots-clés :

Western painting, Postmodernism, Philosophical concepts, Artistic characteristics, Painting creation, Art Market

Résumé

The guiding role of philosophical thinking, in artistic creation and development, is one of the important factors determining the direction of contemporary painting art. Different philosophical perspectives and trends have had a profound impact on the artists’ perspectives and creative methods. The characteristics of contemporary Western painting art demonstrate the subversion and alienation of tradition, and highlight individual and ethnic characteristics. The study explores the artistic characteristics and philosophical origins of contemporary Western painting as the main direction, and analyzes the impact of modern aesthetics, art markets and philosophical thinking on Western modern art. This diversity makes contemporary Western painting works more diverse and complex, blending with contemporary society and aesthetic tastes, constantly promoting the development and changes of art.

Téléchargements

Les données de téléchargement ne sont pas encore disponible.

Biographie de l'auteur-e

  • Jiawei Wang, Sahmyook University

    Sahmyook University, Seoul 01795 – Republic of Korea. ORCID: https://orcid.org/0009-0000-2145-7526.

Références

AL-BAHLOLY, S. History regained: a modern artist in Baghdad encounters a lost tradition of painting. Muqarnas, v. 35, n. 1, p. 229-272, 2018.

BATTERSBY, D. English prize essay contemporary realism, postmodernism, and bodily feeling: Ian McGuire’s the north water. English, v. 67, n. 256, p. 1-22, 2018.

COLLA, M. Postmodern architecture in socialist Poland: transformation, symbolic form and national identity. The journal of architecture, v. 27, n. 2/3, p. 468-472, 2022.

DEKKER, E. The astronomical framework underlying the Sala di Galatea. Nuncius/Istituto e museo di storia della scienza, v. 33, n. 3, p. 537-561, 2018.

DOMBROWSKI, A. Impressionism and the standardization of time: Claude Monet at Gare Saint-Lazare. The Art Bulletin, v. 102, n. 2, p. 91-120, 2020.

DOMÍNGUEZ, D. P.; GONZÁLEZ BORNAY, J. M.; ROIG JUÑENT, F. A. Dendroarchaeological dating of Renaissance Mudejar artefacts in western Spain. Journal of Archaeological Science, v. 96, p. 106-116, 2018.

HUANG, P. C. C. Constitutionalism, reform, and the nature of the Chinese state: dialogues among western and Chinese scholars, III || Beyond the right-left divide: searching for reform from the history of practice. Modern China, v. 36, n. 1, p. 139-142, 2010.

HYMAN, A.M. Crossing the line: Cristóbal de Villalpando and the surplus of script. Art History, v. 45, n. 2, p. 308-341, 2022.

JĀNIS, K. Latvian music history in the context of 20th-century modernism and postmodernism. Muzikoloski Zbornik, v. 54, n. 2, p. 97-139, 2018.

KOHN, D. Perceiving Postmodernism: Learning from London’s Marshlands. Architectural Design, v. 91, n. 1, p. 92-99, 2021.

LEA-CATHERINE, S. Revisiting Postmodernism. The Journal of Architecture, v. 23, n. 2, p. 351-360, 2018.

LIDA, K. Winterbach’s Spyt and Scholtz’s production: An expression of a postmodern impasse. Tydskrif vir Letterkunde, v. 57, n. 2, p. 37-47, 2020.

LOWTHER, D. A. The first painting of the red panda (Ailurus fulgens) in Europe? Natural history and artistic patronage in early nineteenth-century India. Archives of Natural History, v. 48, n. 2, p. 368-376, 2021.

MAY, S. K.; WRIGHT, D.; INÉS DOMINGO, S.; GOLDHAHN, J.; MARALNGURRA, G. The Buffaroo: A ‘first-sight’ depiction of introduced buffalo in the rock art of western Arnhem Land, Australia. Rock Art Research, v. 37, n. 2, p. 204-216, 2020.

MIRONOVA, A.; ROBACHE, F.; DELTOMBE, R.; GUIBERT, R.; NYS, L.; BIGERELLE, M. Digital cultural heritage preservation in art painting: a surface roughness approach to the brush strokes. Sensors, v. 20, n.21, p. 6269, 2020.

NEWMAN, A. N. Queering the Minoans: Gender Performativity and the Aegean Color Convention in Fresco Painting at Knossos. Journal of Mediterranean Archaeology, v. 30, n. 2, p. 213-236, 2018.

OUDBASHI, O.; HESSARI, M. A. “Western” imported technology: An analytical study of the Achaemenid Egyptian blue objects - ScienceDirect. Journal of Cultural Heritage, v. 47, p. 246-256, 2021.

RAKOWSKI, R. Postmodernism as infinite diversity. Filosoficky Casopis, v. 67, n. 2, p. 227-240, 2019.

SIMMONS, J. A.; INABINET, B. Retooling the discourse of objectivity: epistemic postmodernism as shared public life. Public Culture, v. 30, n. 2, p. 221-243, 2018.

SOUSSLOFF, C. M. Painting for fools. Theory, Culture & Society, v. 40, n. 1-2, p. 179-200, 2023.

URBAN, F. Bottom-Up Postmodernism: Unauthorized Church Architecture in Socialist Poland. The Journal of the Society of Architectural Historians, v. 79, n. 4, p. 459-477, 2020.

VACCOUD, S. Two French models for the creation of the painting of Polish national history. Revue de l Art, v. 203, n. 1, p. 47-56, 2019.

WILEY, J.; WILKINSON, I.; YOUNG, L. The nature, role and impact of connected relations: a comparison of European and Chinese suppliers’ perspectives. Journal of Business & Industrial Marketing, v. 21, n. 1, p. 3-13, 2006.

ZHANG, S. The philosophical features of Jameson’s postmodernist cultural theories. Foreign Literature Studies, v. 40, n. 1, p. 157-164, 2018.

Submission: 19/07/2024 – Decision: 06/09/2024 - Revision: 25/09/2024 – Publication: 07/11/2024

Publié

2024-11-02

Numéro

Rubrique

Articles

Comment citer

WANG, Jiawei. The philosophical basis and artistic characteristics of contemporary Western painting. TRANS/FORM/AÇÃO: Revista de Filosofia, Marília, SP, v. 47, n. 6, p. e02400328, 2024. DOI: 10.1590/0101-3173.2024.v47.n6.e02400328. Disponível em: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/16283.. Acesso em: 22 nov. 2024.