Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/31066
This thesis deals with the difficulty to locate one's work within the field of painting.
In that regard, the main and traditional opposition between figurative and abstract painting will be discussed and analyzed. Well known artists taken from the history of painting and particularly from the 20th century will be used as examples, as well as perception theories such as the Gestalt theory.
But if painters should be able to locate their practices within these two poles, it is however offering a quite blurry intersection space. Examples, such as the one of camouflage, will be analyzed to show the advantages and limits of such opposition. This analysis will eventually give guidance elements in order to explore this blurry yet interesting field within the field of painting.
In a second time, the use of such hybrid paintings will be discussed in the context of storytelling. The principal questions that will be raised will concern the possibilities of such works, as well as the ways to present them in a narrative context. Ultimately, what could be the benefits or reasons to present them in such context.
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