Resumé Presented thesis is dedicated to specific problems of van Gogh's art. In the first chapters I investigate Heidegger's philosophy of art and his philosophical interpretation of van Gogh's painting Old shoes. Second chapter is dedicated to the critical reaction of distinguished art-historian Meyer Schapiro. Schapiro wrote two short texts, where he attacked Heidegger's way of interpretation of the painting. But Schapiro did not take into account Heidegger's philosophical arguments and completely misunderstood Heidegger's essay. Third chapter is dedicated to the "conclusion" of the conflict of interpretations. In late seventies French philosopher Jacques Derrida published an article (Restitutions), which deals with previous contributions. Derrida seriously attempted to investigate philosophical principals of Heidegger and Schapiro and he suggested, that both authors have the same tendency to appropriate the shoes to some person, in Heidegger's case to peasant woman in that of Schapiro to van Gogh. Derrida tried to leave the "theory of appropriation" by saying that the shoes belong to the painting. I also added two appendices dedicated to specific problems of van Gogh's painting. In first appendix I investigated the role of synthesis of painting and drawing in van Gogh. In second appendix I trace the...

In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In describing two of these canvases to Theo van Gogh, Vincent expli-citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the suggestive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relationships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future, as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Suggestive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an association of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (doctoral) : Littérature : Universiteit van Amsterdam : 1983. / Proefschrift Letteren Amsterdam, Universität van Amsterdam : 1983. - Extr. de Simolius vol. 9-12, 1977-1982. -Résumé en néerlandais. Notes bibliogr.

Dissertação--Psicologia--Universidade de São Paulo, 2000.

Zugl.: Graz, Univ., Diss.

Diss. : Philosophische Fakultät : München : 1983. - Bibliogr. p. 275-283. -

Thesis (doctoral)--Göteborg University, 1983. / Includes bibliographical references (p. 190-199) and index.

Inaug.-Diss.--Heidelberg. / Vita. Bibliography: p. 196-198.

Texte remanié de: Academisch proefschrift--Universiteit van Amsterdam, 1994. / Bibliogr. p. 151-165. Index.

Made available in DSpace on 2014-06-12T18:29:58Z (GMT). No. of bitstreams: 2 arquivo1850_1.pdf: 3138173 bytes, checksum: bbabbdf7708480aa55180779a8460fbc (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2010 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A sextina é um gênero poético complexo, sendo, na história da literatura, uma das estruturas poéticas menos conhecidas e estudadas; embora tenha sido produzida com alguma prolixidade, ninguém se dedicou com tanto afinco a essa forma poética quanto o poeta alagoano Geraldino Brasil.Esta pesquisa então se estende por duas veredas principais: a história deste gênero poético, e a relação que envolve a metalinguagem como objeto de ligação entre a temática das artes literária e visual, especificamente a poesia e a pintura, na interação entre as séries temáticas de algumas telas de Van Gogh e as quindecies de Geraldino Brasil. Analisamos então quatro livros de sextinas do poeta, para em seguida utilizarmos Bakhtin no que concerne a idéia de dialogismo, intertextualidade e alusão, e como esses recursos podem ser utilizados dentro de uma perspectiva intersemiótica e metalingüística com a finalidade de atestar a relação baseada na influência temática das séries nas telas de Van Gogh e as sextinas de Geraldino Brasil