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Sistem 2

Painting, 03.05.2018, 100×70×5 cm

Description of the artwork «Sistem 2»

The transformation into essential features of spiritual objectivity, between clear experience and understood reality, becomes an unlimited affirmed concept and then moves onward. In this sense, Sigfried Giedion extends the previously approached lay-out with new reflections on the study.

The social, economic and functional influences have an important part in all human activities, ranging from sciences to arts. But there are other factors which must also be considered – our feelings and emotions. These factors have been overlooked as irrelevant, but in reality their effect on people’s actions is huge. A great part of the catastrophes of the last century came from the conviction that the industry and the technique have only a functional importance, with no emotional significance. The arts were relegated to a separate and autonomous field, completely divided from daily reality. The result was that life lost unity and balance; science and industry continued to make progress, but in the already isolated field of emotions, the only activity was an oscillation from one extremity to another[ Sigfried Giedion, Spazio, Tempo ed Architettura, lo sviluppo di una nuova tradizione, Ulrico Hoepli Editore, Milano, 2012, p. 420. Text in Iralian: “Le influenze sociali, economiche e funzionali hanno una parte vitale in tutte le attività umane, dalle scienze alle arti. Ma ci sono altri fattori che devono anche essere presi in considerazione – i nostri sentimenti e la nostre emozioni. Questi fattori sono stati spesso trascurati quali irrilevanti; ma in realtà il loro effetto sulle azioni degli uomini è immenso. Una buona parte delle disgrazie del secolo scorso derivò dalla convinzione che lʼindustria e la tecnica avessero importanza soltanto funzionale, senza carica emotiva. Le arti furono relegate in un dominio appartato ed autonomo, completamente diviso dalla realtà quotidiana. Ne risultò che la vita perdette unità ed equilibrio; scienza e industria fecero progressi continui; ma nel campo del sentimento armai isolato lʼunica attività era una oscillazione da un estremo allʼaltro”.].

Structural analyses are meant to accentuate the diversity of the visible, pictorial and material phenomenon by emphasizing those complementarities which are similar, which organize pictorial materials at the level of the general structures of the material space.
Therefore, in order to shed light on the properties of the aesthetic space, it is necessary to start from the structural characters of the visible image.
Art is not tributary to some casual encounters of prceived things. It disposes of an ideal space, where the forms can systematically organise so as to build expressive objects or to reconfigure the space according to geometric relationships. To recapture that form, so to organise the sensitive, through representation and expression becomes, at the level of the significance, a main element of the aesthetic object. The form is, in this case, what appears first, what the object in its entirety shows, because it is the unity of the interior, but also of the exterior. The object as a whole is also a perceived object that doesn’t occupy by itself the entire plane of the representation, because the sensible lso must be represented. In order to clarify the issues that we relate to this topic, we mention that the organisation of the pictorial space reveals a strong coherence in relation to the organisation of the spaces of perception.
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About the artwork

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Art form: Painting

Subject and objects: Allegorical scene

Style of art: Realism

Technique: Oil

Materials: Canvas

Date of creation: 03.05.2018

Size: 100×70×5 cm

Location: Marius Burhan

European countries