Download PDF by Oscar Wilde: Essays & Lectures

February 2, 2018 | Essays | By admin | 0 Comments

By Oscar Wilde

ISBN-10: 1775413594

ISBN-13: 9781775413592

Oscar Wilde (1854 - 1900) is remembered top for his sharp wit, his comedic performs and for his contribution to aestheticism and decadence. during this choice of essays, in spite of the fact that, Wilde writes predominantly on socialism, anarchy and libertarianism. He believed in those passionately and was once motivated between others by way of William Morris and John Ruskin.

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Es entstehen Zwischentöne zwischen den reinen Lokalfarben, mit denen das Licht deren Wirkung dämpft oder steigert. Gemaltes Erscheinen – von Giotto zu Cézanne - K. Held 39 Durch all dies ergibt sich aus der malerischen Berücksichtigung des vom Licht ermöglichten wirklichen Sehens eine Farbigkeit des Bildes, in der die Lokalfarbigkeit mit all den Nuancierungen verschmolzen ist, die gerade stichwortartig angedeutet wurden. Zur Bezeichnung dieser kompletten Farbigkeit des Bildes können wir aus der Ästhetik der Malerei den Begriff der Erscheinungsfarbigkeit aufnehmen.

Weil die Figuren im Vordergrund den Glanz des Goldhintergrundes im Rücken haben, treten sie für uns im Licht dieses Glanzes in Erscheinung. Der ewige Schöpfergott, dem alles auf einem Bild Dargestellte sein Sein verdankt, ist normalerweise auf dem Bild nicht zu Gemaltes Erscheinen – von Giotto zu Cézanne - K. Held 33 sehen, aber er bildet gleichsam den unsichtbaren Hintergrund in der Tiefe noch hinter dem Goldhintergrund, und dadurch verleiht er dem Bild seine eigentliche Tiefe. Die verborgene Dimension, von der das auf dem Bild dargestellte Erscheinen ausgeht, ist – so die neuplatonische Prämisse dieser Malerei – die Tiefe Gottes.

Die verborgene Dimension, von der das auf dem Bild dargestellte Erscheinen ausgeht, ist – so die neuplatonische Prämisse dieser Malerei – die Tiefe Gottes. Sie kommt in der Tiefe des Goldhintergrunds zum Vorschein; aus dieser Tiefe wiederum treten die Figuren im Vordergrund hervor; und von diesem Vordergrund werden wir, die Betrachter des Bildes, angesprochen. Das Geschehen des Erscheinens beginnt also nicht erst im Zwischenraum zwischen Bild und Betrachter, sondern schon innerhalb des Bildes, nämlich als eine Bewegung vom Hintergrund her nach vorne, und diese Bewegung ist zugleich eine Bewegung auf uns zu, die Betrachter, die vor dem Bild stehen und es anschauen.

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Essays & Lectures by Oscar Wilde


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