Color, Facture, Art and Design: Artistic Technique and the Precisions of Human Perception
Color, Facture, Art and Design seeks to understand art and design from the aspect of materials, construction and the senses. It contends that this element is omitted from art and design theory as a product of the division of labour and alienation as it operates within the realms of theory and art history. It investigates the "beauty" of art based on the somatic "magic" of the physical body and its relationship to nature, arguing that the sensual affect of expert artistic combinations of art materials in some paintings exploits a bridge between the intricacies of human sentience and the external world. Art is thus more accurately located next to the sciences of language, mathematics, physiology and psychoanalysis. As the "pure mathematics" of the discipline, this materialist definition of fine-art develops guidelines for architecture, design, cultural-studies and ultimately social change.
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1844 Manuscripts abstract Academy aesthetic level alienation art history art industry art materials artists aspect azo pigments becomes body built environment capitalism capitalist chemical concept construction contemporary contradiction create Delft division of labor dominant dyes effect elements emphasize Engels example factor feeling female formal Freud function Gallery gender ground guild ideology J.M.W. Turner Jean Prouvé labor power language mainstream manipulation manufacture Marx says Marx’s materialist materials and techniques mathematics means of production mediation mental mode of production modern narrative nature neural adaptation nurturing object Oedipus complex organism painters particular paternal law perception philosophy physical pigments popular culture practice production of art Prouvé rational raw materials relations relationship resin result role senses sensory sensual subject sexuality social stimulate structure substances surface syntax synthetic color technical Tedman texture theory transcendent transformation Turner Uccello use-value Vermeer’s Vermeer’s paintings viewer vision visual visual cortex women worker Yves Klein