About a special relationship: abstract art - aesthetics - mathematics

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Philipp Röhe Hansen Schlichting: About a special relationship: abstract art - aesthetics - mathematics. In: Generative Kunst 2011, 404-413.



While Renaissance art was still in a position to unite science and art, this is no longer possible. Today, science and art are united in their search for principles in Nature. This search is taking place on a level that is no longer accessible through the human senses, on a level that represents the invisible sphere of Nature. In doing so, the search has overcome a rather naïve perception of reality. But the evolution of the process into this deeper level of perception has not been easy and called for countless new methodologies and models. It also resulted in extensive consequences for art. I will outline the consequences for abstract and conceptual painting and elucidate their specific conditions and meanings. For example, how and why does art become abstract and enter a sphere which is neither grounded in the visible material world nor is immediately tangible? And what about the “question of principle”? This discussion will be followed by a closer look at perception itself, specifically whether a form of inner “sensual regulation” makes it questionable that an abstract work of art is concurrently regarded as a mathematical formula.

Extended Abstract


Used References

[1] © PRHS 2011 “1to2to3” 2011 [MDF and acrylic colour]

[2] Arnold Gehlen, „Zeit-Bilder“,Bonn 1960

[3] http://www.oceansbridge.com/paintings/german/Georges_Seurat_026_OBNP2009-Y08943.jpg

[4] Herbert Read, „The philosophy of modern art“, 1952, S.236

[5] Arnold Gehlen, Bonn 1960, S.53

[6] Arnold Gehlen, Bonn 1960, S.75

[7] Arnold Gehlen, Bonn 1960, S.73

[8] Konrad Fiedler, „Über die Beurteilung von Werken der bildenden Kunst“, 1876

[9] © PRHS 2011

[10] Hellmuth Metz-Göckel, „Gestalttheorie aktuell“, Wien 2008, S.71

[11] Walter Schurian, „Das Geheimnis der Gestaltwerdung, Raum-Zeit-Zahl“,Heidenreichstein 2003

[12] Irenäus Eibl-Eibesfeldt und Christina Sütterlin, “Weltsprache Kunst”, Wien 2007, S.162

[13] Karl Eibel, „Kultur Poetik“ 4 (2004), Heft 2, S.278-287

[14] Irmgard Bohunovsky-Bärnthaler „Was aber ist das Schöne?“, Wien 2001, Willibald Dörfler S.72

[15] © PRHS 2011

[16] Lambert Wiesing, “Die Sichtbarkeit des Bildes”, 1997, S.249

[17] Lambert Wiesing, 1997, S.254


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