On The Theory Of Art Appreciation By Daniel Arras

Daniel Arasse is a famous French contemporary art historian with a complex and diversified academic background.His research is mainly on painting,and he has his own unique theoretical perspective and theoretical basis in art appreciation.This paper aims at systematizing and reviewing Arasse' theory of art appreciation.The first is the introduction of arras' overall art theory.Arras believes that art is the expression of a painter's thoughts,rather than a simple imitation of the real world.Starting from the point of "pretentivism",arras believes that the emergence and development of pretentivism contains a strong spiritual meaning,which is the response of people to the sense of stability,fragility and uncertainty of the world,and the concrete expression of the painter's thoughts and emotions.At the same time,arras also believes that there is no pure art for art,there is no isolated art history.From the "mnemonics" that initially helped the orators to memorize to the "rhetoric" art based on the "mnemonics" in the middle ages,the purpose of art has also changed obviously: the medium of transferring the function from the individual to the social meaning.The second chapter is to explore the origin of arras' s theory of art appreciation.The theory comes from three sources.One is the absorption of imagology,which is to confirm a character or theme through a certain number of subjects.Secondly,for the interpretation of dreams,dreams of decision "for the" the complex relationship between the factors,he thinks,when an artist according to the characteristics of different personality or appearance,combined with the painter's own subjective imagination,to incorporate these characters together to form a new image,you need to borrow "condensation" to interpret;Thirdly,with the help of Louis malan's study on the theory of classical symbols,he focuses on the classical expression of painting.The third chapter is the introduction of the theoretical connotation of arras' theory of art appreciation.Firstly,the important status of "details" in art history is sorted out.Secondly,it introduces the "details" of arras' s theory of art appreciation.Arras breaks down the overall concept of "detail" into two pairs.The first pair is particolare and Dettaglio,and the second pair is iconicity and graphicality.These two kinds of details reflect the different choices of the painters.They are different in nature,but both of them have the same point to draw people close to the painting.Arras once said,"from the 'double vision' of 'near' and 'far',approach 'detail'".Here,the "far" look is the look at the painting guided by the "wrong time theory".Therefore,it is necessary to introduce the "wrong time theory" put forward by arras.To grasp the meaning and causes of "wrong time theory" as a whole.This paper explores how to apply the "wrong time theory" to approach the "details",so as to achieve the application of the "details" appreciation theory.The fourth chapter is the reorganization of the functions of arras' s theory of appreciation--the emergence of the meaning of paintings and the evaluation of the theory of appreciation--the double definition of art history.As an art historian,Arasse' emphasis on eyes and "seeing",close to the eyes of paintings,brings the study of art history back to its most basic image level.At thesame time,Arasse's intimate relationship with his work gives his research a moving power.This is especially reflected in his intuition,perceptual experience in front of the work and his emotional investment in the work.His "detail" appreciation of the vision reflects the importance of this emotional investment,which is what makes Arasse's research different.