Abstract
In his Elements of Criticism, published in 1761, Henry Home, Lord Kaimes, advanced the view that “a picture is confined to a moment of time, and cannot take in a succession of incidents.”1 A few years later, Lessing, an admirer of Kaimes, drew a sharp distinction between the arts of time—poetry, above all—and the arts of space—painting and sculpture. “. . . Succession of time,” Lessing wrote in Laocoon, “is the province of the poet just as space is that of the painter.”2 A few innocent incursions of one of these two sorts of art into the territory of the other might be tolerated, but the integrity of each finally depends on its keeping within its own bounds. Thus painting, if it seeks to include time at all, must present only a single moment of a body or bodies in action; and poetry, if it intends to paint a word-picture of an object whose features exist simultaneously in space, must do so by describing the temporally extended action by which the object came into being, as Homer did in the case of Achilles’ shield.
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References
Bermard Bosanquet, A History of Aesthetic (London: Allen and Unwin, 1966), 205.
Gotthold Ephraim Lessing, Laocoon, trans. Edward Allen McCormick (Indianapolis: Bobbs-Merrill, 1962), 91 (Chapt. 18).
Edmund Husserl, Phantasie, Bildbewusstsein, Erinnerung (1895–1925), ed. Eduard Marbach, Husserliana XXIII (The Hague: Martinus Nijhoff, 1981), 21.
Ibid.,476.
Ibid., 19.
Ibid., 22.
Ibid., 57, 60.
Wendy Steiner, Pictures of Romance (Chicago and London: The University of Chicago Press, 1988), 4.
Etienne Souriau, “Time in the Plastic Arts,” in Reflections on Art, ed. Suzanne Langer (New York: Oxford University Press, 1961), 123.
Richard Wollheim, Painting as an Art, Bollingen Series XXXV (Princeton: Princeton University Press, 1987), 8.
Souriau, 123.
Hans-Georg Gadamer, “The Relevance of the Beautiful,” in the Relevance of the Beautiful and Other Essays, ed. Robert Bernasconi (Cambridge: Cambridge University Press, 1986), 25–26.
Souriau, 126.
Micheline Sauvage, “Notes on the Superposition of Temporal Modes in Works of Art,” in Reflections on Art, ed. Suzanne Langer (New York: Oxford University Press, 1961), 164.
Sauvage, 164.
Gadamer, 42.
Alexander Sesonske, “Aesthetics of Film or A Funny Thing Happened on the Way to the Movies,” Journal of Aesthetics and Art Criticism, 33, no. 1 (Fall, 1974): 51–57. Reprinted in Aesthetics: A Critical Anthology, ed. Dickie, Sclafani, Roblin (New York: St. Martin’s Press, 1989), 585.
Ibid., 587.
Ibid., 588.
Steiner, 2.
Nelson Goodman,“Twisted Tales; Or Story, Study, and Symphony,” Critical Inquiry 7, 1 (Autumn, 1980), 105. Cited in Steiner, 18.
Steiner, 18.
Charles Seymour, Jr., Art Treasures for America (London: Phaidon, 1961), 18,23. Cited in Steiner, 37.
Steiner, 38.
Souriau, 132.
George Dickie, The Art Circle (New York: Haven Publications, 1984), 73.
Irwin Panofsky, “Style and Medium in the Motion Picture,” Critique, I, No. 3,1947. Reprinted in Problems in Aesthetics, ed. Morris Weitz (New York: The Macmillan Company, 1970), 666.
Steiner, 23.
Steiner,42.
Steiner uses these terms, 13–14.
Souriau, 132.
Calvin Tomkins, The Bride and the Bachelors (New York: The Viking Press, 1973), 22.
John Ash, “Arshile Gorky: How My Mother’s Embroidered Apron Unfolds in My Life, 1944,” Artforum, XXXIV, No. 1 (September, 1995), 79.
Ibid., 79, 121.
Edmund Husserl, Zur Phanomenologie des inneren Zeitbewusstseins (1893–1917), ed. Rudolf Boehm, Husserliana X (The Hague: Martinus Nijhoff, 1966), 48. English translation: On the Phenomenology of the Consciousness of Internal Time (1893–1917), trans. John Barnett Brough, Edmund Husserl, Collected Works, vol. 4 (Dordrecht & Boston: Kluwer Academic Publishers, 1991), 50.
Ash, 79.
Jan Marsh, Pre-Raphaelite Women (New York: Harmony Books, 1987), 141–142.
Ibid.
Souriau,note 8, 130.
Harold Rosenberg, “The American Action Painters,” in Abstract Expressionism, ed. David Shapiro and Cecile Shapiro (Cambridge: Cambridge University Press, 1990).
Ibid., 78.
Sauvage, 167.
Antoine Schnapper, David (New York: Alpine Fine Art, 1980), 263. David himself gave this account of the painting.
Stephen Wildman, Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England (Alexandria, Virginia: Art Services International, 1995), 175.
Husserliana XXIH, 476.
Sauvage, 166.
Ibid., 171.
HusserlianaXXm,476.
“I Am Still Learning”: Late works by Masters (Washington: National Gallery of Art, 1992), 3.
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Brough, J.B. (2000). Plastic Time: Time and the Visual Arts. In: Brough, J.B., Embree, L. (eds) The Many Faces of Time. Contributions to Phenomenology, vol 41. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-9411-0_12
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