Seeing as sensing : the structuring of bodily experience in modern pictorial art
Hutchinson, Laura Anne (2010) Seeing as sensing : the structuring of bodily experience in modern pictorial art. PhD thesis, University of Warwick.
WRAP_THESIS_Hutchinson_2010.pdf - Requires a PDF viewer such as GSview, Xpdf or Adobe Acrobat Reader
Official URL: http://webcat.warwick.ac.uk/record=b2482989~S15
Two main arguments are developed in this thesis: first is the claim that our ability to make and understand representational pictures has a natural basis in our capacity to see. In this respect, I have drawn on the ideas of the visual scientist, David Marr and on the theory of representation expounded by John Willats. Second, I argue that the view articulated by these theorists forms a theoretical backdrop for, but does not satisfactorily explain, how pictures may heighten our sense of bodily presence. A central aim of this thesis is therefore to show how this mode of expression is also non-arbitrarily linked to the process of seeing by virtue of its relationship with our visuomotor capacities. In order to give substance to these ideas, I have attempted to weave together knowledge of art history with neuropsychological evidence and phenomenological philosophy. In applying this view to the work of particular artists, I have largely focussed on the oeuvre of Cézanne and the Cubists. However, the general form of this argument is intended to have wider implications, indicating the development of a stylistic tendency in modern art and showing how it differs from that of the Renaissance tradition. In conclusion, my thesis expresses the view that vision – and hence representation – can be divided along two separate lines: one related to a conceptual form of seeing and the other related to a bodily form of perception. The "crisis of representation" in the late nineteenth century is therefore considered indicative of a rejection of the former mode of visuality. Instead, modern artists are said to re-structure the viewing experience so that it shows the reliance of sight on the body, thus permitting the beholder a more active and constitutive role in the perception of art.
|Item Type:||Thesis or Dissertation (PhD)|
|Subjects:||B Philosophy. Psychology. Religion > BF Psychology
N Fine Arts > N Visual arts (General) For photography, see TR
|Library of Congress Subject Headings (LCSH):||Cézanne, Paul, 1839-1906 -- Criticism and interpretation, Cubism, Identification (Psychology) in art, Psychology and art|
|Institution:||University of Warwick|
|Theses Department:||Department of History of Art|
|Supervisor(s)/Advisor:||Smith, Paul, 1956-|
|Extent:||282 leaves : ill.|
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