O espaço pictural em Heidegger

• Autor(es): Soares, Stela Maria dos Santos, 1970- ; Maia, Tomás
• Data: 2009
• Identificador Persistente: http://hdl.handle.net/10451/1979
• Origem: Repositório da Universidade de Lisboa
• Assunto(s): Pintura; Criação artística; Heidegger, Martin, 1889-1976; Brunelleschi, Filippo, 1377-1446; Velazquez, Diego, 1599-1660; Friedrich, Caspar David, 1774-1840; Manet, Edouard, 1832-1883; Cézanne, Paul, 1839-1906; Soulages, Pierre, 1919-; Rothko, Mark, 1903-1970; Sousa, Ângelo de, 1938-; Michaux, Henri, 1899-1984; Twombly, Cy, 1928-; Tarkovsky, Andrei, 1932-1986
• Tipo de Documento: Dissertação de Mestrado
• Idioma: Português

Descrição

Tese de Mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2009 The present essay tries to put forward a pictorial space perception in Heidegger’s thinking, taking as an object of study several of the author’s texts. In a first stage, we approach Heidegger’s thought on creation, where the conception of truth appears as original opening and disclosure, to then discover that it is through the artwork that its “thingness” manifests itself and where the essence of the creative act comes together in let-be the Being and in the making as to let-be the work of art. We also look into the existence of parallels between Heidegger’s and Buddhist thought. In the following chapter, before exploring Heidegger’s concept of pictorial space, we try to put forward how the concept has been looked at throughout time within the discipline of art history, referring to a select few examples that we consider to be fundamental in arguing our case. It is our conviction that the history of painting is a history of discontinuity, where each change is a radical rupture, a spacing that’s a new beginning. To know if we might speak and how we would speak of Heidegger’s pictorial space, in third Chapter we traced a path through Dasein and thing spaciality, so as to then grasp the meaning of concepts like space, time, place and emptiness. In the final chapter, we go back to the works of art, choosing those artists whose ways of doing echo our shared understanding of Heidegger’s thoughts, and therefore converging the analysis done all across the thesis. Overall, we try, through this investigation, to articulate Heidegger’s reasoning with an oriented analysis within art history, through a movement of approximation and removal, deepening the two-fold meaning of space in these two blocks – historical and conceptual – that make up that analysis. In conclusion, we establish our insight into the concept of pictorial space in the language of the thinker here being discussed and within the historical context, followed by a discourse on artists and works of art by us considered more suitable.