The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity.

Result #1

The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. In the beginning of philosophy, the ideal was the sublime, at the end it was the barbarians, and no one has to fear any threats. The image of the sublime, however, can be sold to a captive audience in a vault at the Vatican. But will the images of the barbarians and the sublime be redeemed in the heat of popularity or in the age of commercialism? Do we need a theology that follows from philosophy, the art of which has in no way influenced or is influenced by philosophy? George Herge, a painter who writes in an exhibition catalogue, asserts, I would like to see philosophy return to the sublime. Philosophy, then, becomes one with modern painting—the painting of free thinkers—one with the freedom to dream. I would like to see philosophy return to the sublime. These are the words that fill the pages of a brilliant catalogue, the three-hundred-page self-contained volume of essays, written by Herge. The art of freedom and freedom from the supreme glory of the sublime, the art of freedom that is the liberation of the highest civilization, the art of freedom that is the liberation of life, these are the immortal words of Herge.Herge continues to articulate the need for freedom from abstract paintings, but the problem in the art world now is not abstractions strict limitation, but the contradiction between free and revolutionary ideals. Herge continues to explore and work out the contradictions between freedom and liberty, painting and literature, ideal and reality. His paintings are also about the intellectual power and ideas of freedom, and he develops them into a set of symbols and symbols for ideals. He is a master of the symbolism of the ideal—the unalienated spirit that does not believe in the ideals but builds up on them. His approach to abstraction gives the abstractions art its power, which is quite different from that of the religious art world, which is a prison of ideals.

Result #2

The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. Over the centuries, this philosophy has inspired generations of artists, from Beardsley to Rodin. St. Stephen in the Desert is a polychromatic series of tinted watercolors, the colors of the desert. The artist sketches and draws pictures using his finger on a canvas and then casts the resulting works on canvas. The result is a sculpture of light and shadow. St. Stephen in the Desert (all works 1996) comprises two chunky geometric formations. The forms are reworked in paint and ink, but they never disappear; instead, the color is permanently fixed. Since the clouds of the sky hang in the sky above them, we cannot see the forms on the ground. If we jump on top of them, we are constantly pulled down, but also must wait, almost like a stage, for the clouds to rise. St. Stephen is an abstraction that is not seen, but is instead created by the act of seeing. What we see, we can see clearly, and yet we cannot see in the same way again, that is, we cannot focus on the forms on the ground, and they cannot be seen through. This is the ultimate limitation of vision, as the artist points out: to see is to grasp the unity of the universe. And St. Stephen is beyond form and of sight. But how to make visible the forms, which appear as a vision of the world? What to do? Theres no way to make this painting magical—to bring it to a world where it can be seen in reality. In this world of reality, reality is not a result of science, but a simple fact of the everyday world.St. Stephen is a polychromatic series of tinted watercolors, the colors of the desert. The artist sketches and draws pictures using his finger on a canvas and then casts the resulting works on canvas. The result is a sculpture of light and shadow.

Result #3

Modernism from the double-edge standpoint was a reflection of the contradiction between ideal ideals of freedom and repression—one imagined freedom in a state of harmony, the other free of nature. The world of modernism is essentially a synthesis of the two, or the colliding of the two poles of being. A view of nature from the double-edge perspective of Giorgio de Chirico is nearly identical to a view of the earth from the double-edge viewpoint of Giacometti, and the two artists inhabit the same world, just as each is an entity in a world of their own. Likewise, Bertrand Russell, Freud, and Marx all seen from the double-edge viewpoint of abstraction were contemporary in their engagement with nature. Whereas all the philosophies of the time were concerned with the systematic destruction of nature, all of them saw the power of nature as a force of freedom. A view of nature from the double-edge perspective of Mondrian, a modernist in the sense that his work reflected the dualistic nature of his own conception of the world, is less concerned with the domination of nature than with the interpretation of it. As Mondrian wrote, he saw nature as a way of discovering the original world, the source of things, and the source of all understanding. The dual nature of nature is the world view of modernity as a whole. In this way, modernity as a whole is not an alternative to nature, but a revolutionary dialectical inversion of nature into nature.

Result #4

The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. We find a depiction of the connection between painter and bifurcated being in the work of Guadalupe Garcia de Castro (1889–1952), best known for his work on frescoes of the eighth century CE. This show consists of thirty-six gouache and pencil drawings from the 15th and 16th centuries that reflect his interest in the perspectival, as well as in the perspectival and mental states of imagination and the mind. Gascardo de Castro was a painter of the life of the soul. With his life and work on canvas, he defended the faith of the soul and the life of the body. He was a critical critic of the Church, the Magi, and the Stoics, who persecuted heresy, along with the Gnostics, who tried to overturn the dogma of faith. At the end of the 16th century, he wrote about the problem of the transmigration of the soul from the body, in terms that are peculiarly his own: The soul is the part of the body that remains after the skin of death. He discovered that it was possible to let go of the body and to let go of the mind at once.The old way of thinking about painting is of the body as the master and the mind as the servant, and this is the way Geert Hofmann, the founder of modern painting, saw the mind. With his own eyes and hands, he carefully investigated how the mind could grow and develop. He wrote about the development of the mind in his paintings of the mid-17th century: The growth of the mind is the growth of the mind. Imagination is a movement in which we see the mind bending itself into the body. It is this bend that gives the mind its greatest strength. Hofmann saw this in the mind, which bends in on itself like a phoenix or a vessel in the sea.

Result #5

The surreal painting imparts meaning in philosophy, cure in science, perspective in nature, freedom in isolation and eternity in creativity. Photo: Les Tansey. Still Life and Culture is on view through Feb. 22, and will travel to this years Documenta 14. He is a cofounder of the Centre Pompidou, and the New York Times bestselling author of The Foggy Old Man: Explorations in Expressionism from the Revolution to the Present (2002).He had his most powerful image making work in the late 1960s, when he took his own life in Los Angeles. The work was, as he would recall in an interview, for the time a discovery of a new creativity. And so the matter-of-fact spirit of Abstract Expressionism—which suggests its only trace in Michelangelo and not Jean Nouvel or in any number of close, trusted, and essentialists—has emerged, even if it remains in the shadows. Its the shadow of the most advanced and challenging artistic and intellectual consciousness, and it is, in fact, the shadow of its most advanced and challenging, artistic and intellectual.The artist is an Enlightenment sensualist, a composite and emergent sensualist. In the 80s, when he painted with gas, he was exploring his universal emotions—joy, wonder, ecstasy, fear, grief. He felt liberated from either subjectivity or reason. As the text of an autobiographical book, The Pills, ca. 1962, reveals, at that time, he was not an abstracter of the world but a visionary. Today, when he continues to explore the world, the details of his landscapes and landscapes, which once were deliberate and innovative, are as incidental as the details of the human form. Only the details can command our attention, and so we are drawn in by the esthetic quality of his photographs. In Still Life, 1987, the details are the signature shapes of the Earthworks of Romantics, the forms of Dalís and Porphyry.