Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
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<strong>ARAS</strong> Connections Issue 2, 2012<br />
radically different stages because each new element precipitates overall<br />
reorganization. At each stage the organism must be unified.<br />
(5) My approach differs from that of psychologists like Bach, Hammer, <strong>and</strong><br />
Furth. These authors work with a spontaneous drawing, or 'picture from the<br />
unconscious', analyzing the symbolic meaning of the picture's subject matter.<br />
Plastic form does not depend on subject matter. These authors also analyze the<br />
structure of a spontaneous drawing but such structure is the product of<br />
unconscious or 'instinctive' impulse alone. Plastic structure is built up in stages<br />
<strong>and</strong> reworked repeatedly. Instinct makes the artist sensitive to the unity of the<br />
canvas <strong>and</strong> suggests what must be added next. But each instinctive impulse is<br />
tested again <strong>and</strong> again by trial <strong>and</strong> error.<br />
(6) A plastic painting grows organically <strong>and</strong> its organization resembles that of a<br />
living organism (see overall unity; evolves; Creating pictorial space; unified<br />
structure.) Since a living organism is a dynamic system, it seems that a plastic<br />
painting is also a dynamic system, or that its evolution on the canvas is the<br />
evolution of a dynamic system which includes both painter <strong>and</strong> painting. But the<br />
personality is also a dynamic system. This may account for the homology: all<br />
dynamic systems self-organize according to a common set of principles |57|.<br />
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