Pictorial Space throughout Art History: Cézanne and ... - ARAS

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ARAS Connections Issue 2, 2012 radically different stages because each new element precipitates overall reorganization. At each stage the organism must be unified. (5) My approach differs from that of psychologists like Bach, Hammer, and Furth. These authors work with a spontaneous drawing, or 'picture from the unconscious', analyzing the symbolic meaning of the picture's subject matter. Plastic form does not depend on subject matter. These authors also analyze the structure of a spontaneous drawing but such structure is the product of unconscious or 'instinctive' impulse alone. Plastic structure is built up in stages and reworked repeatedly. Instinct makes the artist sensitive to the unity of the canvas and suggests what must be added next. But each instinctive impulse is tested again and again by trial and error. (6) A plastic painting grows organically and its organization resembles that of a living organism (see overall unity; evolves; Creating pictorial space; unified structure.) Since a living organism is a dynamic system, it seems that a plastic painting is also a dynamic system, or that its evolution on the canvas is the evolution of a dynamic system which includes both painter and painting. But the personality is also a dynamic system. This may account for the homology: all dynamic systems self-organize according to a common set of principles |57|. The images in this paper are strictly for educational use and are protected by United States copyright laws. 76 Unauthorized use will result in criminal and civil penalties.
ARAS Connections Issue 2, 2012 References |1| Michelangelo quoted in Herbert Reed, The Art of Sculpture (Princeton: Bollingen, 1977), p. 62. |2| Georges Braque, An American Tribute, ed. Bjorn Richardson (New York: Public Education Association, 1964). |3| Hans Hofmann, Search for the Real (Cambridge: The M.I.T. Press, 1967). p. 60. |4| Erle Loran, Cezanne's Composition, (Berkeley: University of California Press, 1963), p. 1. |5| Robert Casper, On the Essence of Pictorial Form: A Study of Fundamentals of Pictorial Construction Universal to All Great Periods of Art. (New York: Robert Casper, 140-30 Ash Avenue, Flushing, NY, 11355, 1985.) |6| D. W. Winnicott, 'On the contribution of direct child observation to psychoanalysis' In The Maturational Processes of the Facilitating Environment. New York, Int. Univ. Press, (1957 p. 114). |7| Brooke Hopkins, 'Winnicott and the capacity to believe' PsyArt: A Hyperlink Journal for the Psychological Study of the Arts, Article 030914, 2003: The Capacity to Believe, para 13. |8| Brooke Hopkins, Ibid: The Capacity to Believe, para 19. |9| Brooke Hopkins, Ibid: The Capacity to Believe, para 21. |10| Brooke Hopkins, Ibid: The Capacity to Believe, para 21. |11| D. H. Winnicott, 'The location of cultural experience' In Playing and Reality. New York: Basic Books, (1967/1971, p. 99.) |12| Erich Neumann, The Origins and History of Consciousness (Princeton: Bollingen, 1949/70) p. xv-xxiv. |13| Robert Young, The Oedipus Complex (Ideas in Psychoanalysis). Ivan Ward (Editor). Totem Books, 2001. |14| Brooke Hopkins, 'Jesus and object-use: a Winnicottian account of the resurrection myth.' PsyArt: An Online Journal for the Psychological Study of the Arts, Article 051209, 2006. |15| Thomas Ogden, 'Some thoughts on the use of language in psychoanalysis'. Psychoanalytic Dialogues 7: pp1-21 (1997). The images in this paper are strictly for educational use and are protected by United States copyright laws. 77 Unauthorized use will result in criminal and civil penalties.
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