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This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
An introduction to the field of psychological aesthetics for art
educators, art therapists, psychoanalysts, artists and art lovers,
this book re-evaluates conventional philosophical and
psychoanalytic approaches to aesthetic qualities themselves, to the
kinds of psychological significance they can generate, and to the
interweaving of inner and outer realities upon which this depends.
Art history tends to see an artist's work in the context of their
life and times; psychoanalysis and art therapy tend to see art
works in terms of an `unconscious' meaning that is beneath the
surface of its `aesthetic' properties, within the context of the
therapeutic relationship. Maclagan draws attention to the intimate
connections between the aesthetic qualities of an art work per se,
felt out in its material handling, be they attractive,
disconcerting or just bland, and a wide range of psychological
meanings. Drawing on phenomenology and archetypal psychology, as
well as on neglected writers on unconcious aspects of form,
Psychological Aesthetics: Painting, Feeling and Making Sense
explores this realm of feeling, the different ways in which it is
embodied in art and how we can use `subjective' strategies to
articulate it in words. It will open new perspectives in
understanding both the processes of art making and our creative
response to its results.
Line Let Loose is a sustained investigation of the evolution of
scribbling, doodling and automatic drawing. Of these three forms of
'drawing', scribbling is the most basic: it is seen as playing a
formative role in the drawings of both children and primates.
Doodling, whilst still being a widespread phenomenon, is largely an
adult preoccupation, a nomadic form of drawing typically produced
during meetings of phone calls. Automatic drawing, on the other
hand, even though those who engage in it are not necessarily
trained artists, is a more dramatic event: the results of an
absent-minded or trance-like state are sometimes astonishing. All
three forms of drawing have, because of their amateur and
spontaneous character, been adopted by modern artists seeking to
escape from the constraints of their professional skills. David
Maclagan shows that each of these marginal forms of drawing has its
own history, which includes Spiritualism, Surrealism, Abstract
Expressionism and Psychedelic Art. Referring to Klee, Pollock,
Miro, Twombly and Sol Lewitt, as well as many lesser-known or
anonymous artists, he traces the links between them and a pervasive
notion of the spontaneous and 'unconscious' creation of forms in
art. He suggests that the original novelty of these unconventional
drawing processes has begun to wear off, and he explores their new
situation in our modern digital culture.
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