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Intuition and certitude: abstract painting considered as a language

Hemingway, Bernard Anthony (1994) Intuition and certitude: abstract painting considered as a language. Doctor of Philosophy (PhD) thesis, University of Kent. (doi:10.22024/UniKent/01.02.94409) (KAR id:94409)

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Official URL:
https://doi.org/10.22024/UniKent/01.02.94409

Abstract

Using stmcturalist and post-structuralist theory this thesis responds affirmatively to the question of whether or not abstract painting is a language. It is divided into two sections. Chapters 1 and 2 provide a theoretical model of abstract painting analogous to verbal language as a doubly-articulated discursive system dependent on a material structure and a metalinguistic level of interpretation, described as a process of "downward causation". The subject of meaning in abstract painting is divided into two broad "fields" - the field of sense, occupied by stimuli and signals, and the field of meaning, occupied by signs and symbols. In order to sustain this theory of meaning an open model of language is developed by drawing freely on the semiological theories of Saussure, Peirce, Hjelmslev, Benveniste, Barthes, and Eco and the philosophical writings of Merleau-Ponty, Gadamer and Derrida. Chapters 3 to 6 are a study of the work of Piet Mondrian, Theo Van Doesburg, Georges Vantongerloo, Max Bill, Richard Lohse, and Victor Vasarely by the light of this theoretical model. It is shown how Mondrian's abstract work established certain signifying elements and their principles of combination and how the artists who followed on after him can be read as both refinements of that initial method of painting and as thematised responses to extra-pictorial concerns.

Item Type: Thesis (Doctor of Philosophy (PhD))
Thesis advisor: Manion, Margaret
Thesis advisor: Bann, Stephen
DOI/Identification number: 10.22024/UniKent/01.02.94409
Additional information: This thesis has been digitised by EThOS, the British Library digitisation service, for purposes of preservation and dissemination. It was uploaded to KAR on 25 April 2022 in order to hold its content and record within University of Kent systems. It is available Open Access using a Creative Commons Attribution, Non-commercial, No Derivatives (https://creativecommons.org/licenses/by-nc-nd/4.0/) licence so that the thesis and its author, can benefit from opportunities for increased readership and citation. This was done in line with University of Kent policies (https://www.kent.ac.uk/is/strategy/docs/Kent%20Open%20Access%20policy.pdf). If you feel that your rights are compromised by open access to this thesis, or if you would like more information about its availability, please contact us at ResearchSupport@kent.ac.uk and we will seriously consider your claim under the terms of our Take-Down Policy (https://www.kent.ac.uk/is/regulations/library/kar-take-down-policy.html).
Uncontrolled keywords: Arts
Subjects: N Visual Arts > NX Arts in general
Divisions: Divisions > Division of Arts and Humanities > School of Arts
SWORD Depositor: SWORD Copy
Depositing User: SWORD Copy
Date Deposited: 25 Aug 2022 14:58 UTC
Last Modified: 25 Aug 2022 14:58 UTC
Resource URI: https://kar.kent.ac.uk/id/eprint/94409 (The current URI for this page, for reference purposes)
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