 | Chris Jenks - 1995 - 286 Seiten
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 | Chris Jenks - 1995 - 269 Seiten
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 | Chris Jenks - 1995 - 269 Seiten
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 | David Peters Corbett - 2004 - 346 Seiten
...material signs.” He concluded that “to understand the painting as a sign,” we have to attend “to the body whose activity—for the painter as...always and only a transformation of material signs.” See Bryson's Vision and Painting: The Logic of the Gaze (Basingstoke, UK, 1983), i7¿7i. See also Bryson's... | |
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painting as sign, we have to forget the proscenic surface of the image and think behind it: not to an original perception in which the surface is luminously bathed, but to the body whose activity—for the painter as for the viewer—is always and only... 