Download PDF by Jill Mullin: Drawing Autism


By Jill Mullin

Even if autism was once first pointed out in 1943, the decade has visible the complicated neurobiological illness develop into a subject of dialog across the world. understanding no racial, ethnic or social limitations, this day autism is clinically determined in 1 in each a hundred and fifty kids, with boys 4 occasions likely to be autistic than women. referred to as a spectrum ailment, autism manifests otherwise in each analysis. From social deficits to behavioral problems and language delays, the severity of autism varies vastly from individual to individual. the original nature of the way autism impacts participants in myriad methods makes the ailment a problem if you have it, have youngsters with it or paintings with these dwelling with the analysis. artwork has lengthy been an outlet utilized by a few people with autism to specific themselves in situations the place phrases don't paintings, or can't be made to.

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Theories in philosophy of art that emphasize this expressive dimension are often called expression theories. Whereas early expression theories particularly stressed the audience’s side of expression, more recent views emphasize art as the selfexpression of the artist. In other words, the former focus on the arousal of emotions in the audience, and the latter, on the expression of emotions by the artist. 2 Art as the Arousal of Emotion: Leo Tolstoy (1828–1910) 39 Art as the Arousal of Emotion: Leo Tolstoy (1828–1910) Tolstoy’s view on art conformed to the common belief that the specific task of art is to stir up our emotions.

Hegel’s striking description of this view of art follows a line of thought that goes back to ancient times. As we saw in the previous chapter, Aristotle believed that one of the most important functions of Greek tragedy was to generate or rouse emotions among the general public. In this respect, his notion of the term “catharsis” leaves little to be desired in the way of clarity. , Tolstoy defended the proposition that art is the “infection” of emotion. The first criterion for Tolstoy is that art is purely and solely a matter of emotion.

And his criterion was invariably the resemblance to reality. But copying, moreover, was also a way of committing works of art from the past to memory, of comparing them with each other and of discovering why they so clearly resemble reality. Pictorial imitation also changes our view of objects itself. We see the world differently after Cézanne. Giacometti can by no means be suspected of naïveté. Through the countless copies he made, he knew better than anyone that one never sees things virginally, that a style, concept or convention always colors them.

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