Resumo de Italian Painting - Tofani Annamaria Petrioli

A mark as mark, writing as writing, is not somethingto be heard or seen, it is something to be read. How to begin to read a poemthat ended without being at an end? The landscape was also the starting point for the New Abstarct group. Althoughthe members of the group set out to produce a universal art form, the lyricalabstract style developed by Chocron and his colleagues was replete with obviouslocal signifiers. They looked at aesthetic issues and problems withexpressiveness, emotions in art forms, discourse, verbal expression in speechor writing and symbolic meaning. The arts, such as dance and music were a formof knowledge and truth. Language is a mark of man it was created with him,language expresses relations among acts or things make reference to realityeither explicitly or implicitly. With all, a book communicates nothing neithersignifies nothing. Under the influence of the philosophy of Plato, Saviola developed his aesthetictheories, which stressed the sublime and emphasized the creative powers ofhumanity. These views and his concept of historical inevitability are manifestin the outstanding Number 2 piece. Building on the work of thesephilosophers, a theory of symbol asserts that human nature lends itself so wellto symbolizing that symbols tend to assume the central role in our perceptionof reality. Symbols are developed in symbolic interchange with others, by whichwe attain symbolic maturities. Rather there was an effort at philosophical syncretism,to combine apparently conflicting philosophies, and find common ground foragreement about the truth.Anyone looking at the picture would have to look fromthis new viewing point. Only if you look at the artist's picture from the samerelative position, will you see it the way he saw it. If you look from anywhereelse, it will be distorted. Social aesthetics cannot be observed alone. Social change takes the artisttowards a more complex life, and left without objective truth. Well, thequestion of taste can be counted on to generate many of those simple questionswe cannot definitively answer but also cannot help asking. Consider thequestion, inevitable when we ponder the operation of taste, of why we care somuch about art.It is on a cliff over the beach, a very nice place. Theboys there are 14-17 years old, they are great artists. It is true that tragedyusually (perhaps even always) presents a moral struggle, and that comedy verycommonly castigates foibles and vices.

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