![]() ![]() 27-32Ģ.Plato’s definition of ideas as forms was based on their eternal, unchanging nature. Indeed the joy that comes with such recognition, fed by the neurons' release of dopamine, is as close as many will ever come to pure aesthetic satisfaction.įor a more detailed explanation, see the paper by Simon Abrahams, " How Forms in Art Work."ġ. Joseph Leo Koerner, The Moment of Self-Portraiture in German Renaissance Art (Chicago University Press) 1993, pp. If not, the viewer can get carried away by his or her own imagination, not the artist’s.) Studying our examples, though, from a variety of periods by a variety of different artists will help strengthen your own neurons’ ability to recognize similar patterns supported by similar evidence elsewhere. ![]() (A word of warning: it is important that visual metamorphosis make sense within the work itself, the artist’s overall oeuvre and art history too. ![]() Once shown, however, the ability to see visual metamorphosis can be taught and, as in so many other talents, practice helps improve performance. ![]() Indeed Foçillon’s own experience of such metamorphoses seems to have been somewhat limited because his concrete examples in art are relatively scarce. If many painters cannot recognize the metamorphosis, it is not surprising then that most viewers have not been able to see them either. Any great European artist in any period would have assumed that a borrowed form borrows meaning and that there is no difference between an idea for a painting and a composition of form. ![]()
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