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DECONSTRUCTION IN PAINTING: AN APPLICATION OF DECONSTRUCTION THEORY IN SELECTED PAINTINGS OF PABLO PICASSO

Yıl 2015, Cilt: 1 Sayı: 2, 89 - 93, 31.08.2015
https://doi.org/10.18769/ijasos.01482

Öz

Having been always associated with the French theoretician Jacques Derrida, the term ‘Deconstruction’ happened to become the greatest revolutionary theory proposed in the twentieth century. As the term points to, deconstruction theory tends to deny any sort of fixed stable system of predicted rules and meanings in art. Rather, it offers an existing infinity and flexibility in meaning as an inborn entity in the discussion of art interpretation. Deconstruction theory, further concentrates itself on the active role, an audience’s ideologies and individuality operate during the process of his/her interpretation of a piece of art, while insisting on cultural parameters. The current article aims to reveal how deconstruction can help critics and individuals to reach a worldwide multidimensional understanding and appreciation of any genre of art by applying its major applications of binary oppositions and ideological privileged on two selected works of the famous twentieth century painter, Pablo Picasso. Hence, shedding a new light of understanding on Picasso’s works by seeking to curve out his ideological privileges and proposing new possible relationships between the concepts and the meanings in his paintings. In this regard it must be noted that deconstruction focuses on two major points in its applications; the first one deals with the uncertainty of an artistic work as a mean to reveal the self-contradictory and multiplicity of the thematic meanings proposed by both the artist and the audience, and the second point focuses on the underlying ideological dimensions within the artifact. Finally, it is believed that artist’s ideological frameworks can be decoded by applying deconstruction theories on his/her artifacts.

Keywords: Jacques Derrida, Deconstruction, Twentieth Century, Art, Binary opposition, Ideological privileges, Pablo Picasso

Kaynakça

  • Cranny-Francis, Anne. (2012). Sculpture as Deconstruction: The Aesthetic Practice of Ron Mueck. Visual Communication 12 (1).
  • Gardner, H., Tansey, R. G., & Kleiner, F. S. (1996). Gardner's Art Through The Ages. Fort Worth: Harcourt Brace College Publishers.
  • Gunther Buchheim, Lothar. (1959). Picasso, A Pictorial Biography. New York: Thames and Hudson.
  • O’sullivan, Simon. (2001). The Aesthetics Of Affect: Thinking Art Beyond Representation. ANGELAKI: Journal of the Theoretical Humanities 6 (3).
  • Pakbaz, Rooeen. (2013). In Search of a New Language. Tehran: Negah Publication.
  • Seyed Hosseini, Reza. (2012) Literary Schools. 2nd ed. Vol. 2. Tehran: Negah Publication.
Yıl 2015, Cilt: 1 Sayı: 2, 89 - 93, 31.08.2015
https://doi.org/10.18769/ijasos.01482

Öz

Kaynakça

  • Cranny-Francis, Anne. (2012). Sculpture as Deconstruction: The Aesthetic Practice of Ron Mueck. Visual Communication 12 (1).
  • Gardner, H., Tansey, R. G., & Kleiner, F. S. (1996). Gardner's Art Through The Ages. Fort Worth: Harcourt Brace College Publishers.
  • Gunther Buchheim, Lothar. (1959). Picasso, A Pictorial Biography. New York: Thames and Hudson.
  • O’sullivan, Simon. (2001). The Aesthetics Of Affect: Thinking Art Beyond Representation. ANGELAKI: Journal of the Theoretical Humanities 6 (3).
  • Pakbaz, Rooeen. (2013). In Search of a New Language. Tehran: Negah Publication.
  • Seyed Hosseini, Reza. (2012) Literary Schools. 2nd ed. Vol. 2. Tehran: Negah Publication.
Toplam 6 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

Alireza Anushiravani

Seyedeh Foroozani

Yayımlanma Tarihi 31 Ağustos 2015
Gönderilme Tarihi 30 Ağustos 2015
Yayımlandığı Sayı Yıl 2015Cilt: 1 Sayı: 2

Kaynak Göster

EndNote Anushiravani A, Foroozani S (01 Ağustos 2015) DECONSTRUCTION IN PAINTING: AN APPLICATION OF DECONSTRUCTION THEORY IN SELECTED PAINTINGS OF PABLO PICASSO. IJASOS- International E-journal of Advances in Social Sciences 1 2 89–93.

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