What’s in a Bottle? Morandi’s Art and Ordinary Aesthetics

IF 0.3 0 PHILOSOPHY Open Philosophy Pub Date : 2023-01-01 DOI:10.1515/opphil-2022-0249
L. Monteiro
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Abstract

Abstract This article’s assumption is that ordinary aesthetics does not necessarily imply a distancing from art and artists; rather, it can benefit from the input of creators when they use everyday scenes or objects as their theme. This approach focuses on the practice of twentieth-century Italian painter Giorgio Morandi, who depicted compositions of common objects such as bottles, jars, and vases. Through Morandi’s meditative and artistic search, these objects are given value and aesthetic elevation in his paintings. Thomas Leddy’s aesthetics of everyday life will also be called upon in my analysis, insofar as the author recognizes a continuity between the ordinary and the extraordinary, through auratic experiences. If Morandi discovers the extraordinary in the trivial, this is achieved through a gradual process of selection regarding the objects he favoured, which allows for the interaction of various levels of aesthetic intensity. Morandi’s objects and models and their preparation suggest a circulation between aesthetic degrees that, in turn, suggests a timeless “language of things” fixed through the discourse of the paintings. Along these lines, it will be necessary to address the enchantment related to common things, a mesmerizing presence of which we became more aware through Morandi compositions.
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瓶子里有什么?莫兰迪的艺术与普通美学
摘要本文的假设是,普通美学并不一定意味着与艺术和艺术家的距离;相反,当创作者使用日常场景或物体作为主题时,它可以受益于创作者的投入。这种方法侧重于20世纪意大利画家乔治·莫兰迪的实践,他描绘了瓶子、罐子和花瓶等常见物品的构图。通过莫兰迪的沉思和艺术探索,这些对象在他的绘画中被赋予了价值和审美提升。托马斯·莱迪的日常生活美学也将在我的分析中被引用,因为作者通过听觉体验认识到平凡和非凡之间的连续性。如果莫兰迪在琐碎中发现了非凡,那么这是通过对他喜欢的对象进行逐步选择的过程来实现的,这允许不同层次的审美强度的互动。莫兰迪的物品和模型及其准备表明了审美程度之间的循环,这反过来又表明了通过绘画话语固定的永恒的“事物语言”。沿着这些思路,有必要解决与常见事物相关的魅力,通过莫兰迪的作品,我们更加意识到了这种迷人的存在。
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来源期刊
Open Philosophy
Open Philosophy Arts and Humanities-Philosophy
CiteScore
1.40
自引率
20.00%
发文量
25
审稿时长
15 weeks
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