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1	Concrete insight: art, the unconscious and transformative spontaneity Nutting, Catherine M. 30 August 2007 (has links) My thesis draws connections among Herbert Read’s aesthetics, his anarchism, and Carl Jung’s aesthetic theory. I discuss Jung’s concept of individuation and its importance in his theory of the creative process of life. He distinguished between personalistic and archetypal art, and argued that the latter embodies primordial symbols that are inherently meaningful. Archetypal art, he believed, symbolizes unconscious knowledge, which can promote self-awareness and impact on society, if an individual is able to discern its relevance and integrate this into an ethical lifestyle. Jung emphasized the importance of rational discernment and ethical choices along with free creativity. I show how Read used these Jungian concepts to explain aspects of his aesthetic and political emphasis on freedom. According to Read, art creates reality and as such it is both personally transformative and socially activist: he believed that aesthetics are a mechanism of the natural world, and that art is a unique type of cognition that manifests new forms. Art communicates new versions of reality because perception is holistic, allowing people to perceive both the essence inherent in forms and the relationships among them. Further, I consider Read’s belief that cognition and society are both organic, and should be allowed to evolve naturally. Therefore, according to Read, society must be anarchist so that creative freedom and aesthetic consciousness can be adequately supported. Finally, I conclude by highlighting the pivotal role of creative freedom in Jung’s and Read’s theories of personal and social change. I illustrate that Jung and Read concurred that the unique individual is the site of transformation, living out the organically creative nature of life. Carl Jung Herbert Read Jungian Aesthetics English Modernism Art Theory Anarchism Jungian Psychology Psychology Modern Art Theory Jungian Unconscious Creativity Spontaneity Transformation Art Education Pacifism Pacifist Anarchism Archetype David Thistlewood Paul Gibbard Herbert Read and Carl Jung Art and Psychology Psychology and Art Art Anarchism and Art
2	Concrete insight: art, the unconscious and transformative spontaneity Nutting, Catherine M. 30 August 2007 (has links) My thesis draws connections among Herbert Read’s aesthetics, his anarchism, and Carl Jung’s aesthetic theory. I discuss Jung’s concept of individuation and its importance in his theory of the creative process of life. He distinguished between personalistic and archetypal art, and argued that the latter embodies primordial symbols that are inherently meaningful. Archetypal art, he believed, symbolizes unconscious knowledge, which can promote self-awareness and impact on society, if an individual is able to discern its relevance and integrate this into an ethical lifestyle. Jung emphasized the importance of rational discernment and ethical choices along with free creativity. I show how Read used these Jungian concepts to explain aspects of his aesthetic and political emphasis on freedom. According to Read, art creates reality and as such it is both personally transformative and socially activist: he believed that aesthetics are a mechanism of the natural world, and that art is a unique type of cognition that manifests new forms. Art communicates new versions of reality because perception is holistic, allowing people to perceive both the essence inherent in forms and the relationships among them. Further, I consider Read’s belief that cognition and society are both organic, and should be allowed to evolve naturally. Therefore, according to Read, society must be anarchist so that creative freedom and aesthetic consciousness can be adequately supported. Finally, I conclude by highlighting the pivotal role of creative freedom in Jung’s and Read’s theories of personal and social change. I illustrate that Jung and Read concurred that the unique individual is the site of transformation, living out the organically creative nature of life. Carl Jung Herbert Read Jungian Aesthetics English Modernism Art Theory Anarchism Jungian Psychology Psychology Modern Art Theory Jungian Unconscious Creativity Spontaneity Transformation Art Education Pacifism Pacifist Anarchism Archetype David Thistlewood Paul Gibbard Herbert Read and Carl Jung Art and Psychology Psychology and Art Art Anarchism and Art
3	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

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