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By Paul Smith, Carolyn Wilde

The spouse offers an obtainable serious survey of Western visible paintings conception from resources in Classical, Medieval and Renaissance notion via to modern writings.

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Armstrong, Loeb Classical Library, p. 159 Porphyry (1989) On the Life of Plotinus and the Order of his Books 1, trans. by A. H. Armstrong in Plotinus with an English Translation, vol. 1, Loeb Classical Library, p. 3 Seneca (1967) Epistulae morales 65, trans. by R. M. Gummere, Loeb Classical Library, p. 1–2, trans. by E. C. Marchant, Loeb Classical Library, pp. 10–11, trans. by O. J. Todd, Loeb Classical Library, p. 2, trans. by O. J. Todd, Loeb Classical Library, p. 421 Further reading Else, Gerald F.

In descriptions of paintings and sculptures they are praised because they show persons represented true to life; only voice or breath is missing, it is said in many literary descriptions. This has been understood as a strong realistic or naturalistic tendency in the Greek audience far from the obvious idealism which we can see in classical Greek sculpture. But the ancient will to life-likeness was not realism or naturalism in a modern sense. It expressed the most fundamental trait of what is called the Greek art revolution, which happened most dramatically around the turn of the century 500 bc.

In Diderot’s writings’, he says, ‘the very condition of spectatordom stands indicted as theatrical, a medium of dislocation and estrangement rather than of absorption, sympathy, self-transcendence; . . The continued functioning (of both painting and theatre) as major expressions of the human spirit, are held to depend on whether or not painter and dramatist are able to undo that state of affairs, to de-theatricalize beholding and so make it once again a mode of access to truth and conviction’ (Fried, 1980, p.

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