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The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the ...
Aristotle, world-weary, looks at the bust of blind, humble Homer, on which he rests one of his hands. This has variously been interpreted as the man of sound methodical science deferring to art, or as the wealthy and famous philosopher, wearing the jeweled belt given to him by Alexander the Great, envying the life of the poor blind bard. [8]
The Death of Socrates (French: La Mort de Socrate) is an oil on canvas painted by French painter Jacques-Louis David in 1787. The painting was part of the neoclassical style, popular in the 1780s, that depicted subjects from the Classical age, in this case the story of the execution of Socrates as told by Plato in his Phaedo. [1]
Rembrandt's Aristotle with a Bust of Homer, too, is a celebrated work, showing the knowing philosopher and the blind Homer from an earlier age: as the art critic Jonathan Jones writes, "this painting will remain one of the greatest and most mysterious in the world, ensnaring us in its musty, glowing, pitch-black, terrible knowledge of time."
Symposium or Das Gastmahl des Platon [1] are paintings by the German painter Anselm Feuerbach from c. 1869 and 1873/74 of a moment from Plato's Symposium, when the drunken Alcibiades and revelers enter the house of the poet Agathon. [2] [3] Socrates, near the wall at right-centre, turns his back on the scene, and bows his head. [3]
Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.
Unlike Plato (428/7–348/7 BC), Aristotle (384–322 BC) [2] was not a citizen of Athens and so could not own property; he and his colleagues therefore used the grounds of the Lyceum as a gathering place, just as it had been used by earlier philosophers such as Socrates. [6] Aristotle and his colleagues first began to use the Lyceum in this ...
Aristotle's views on fine art distinctly recognized (in the Politics and elsewhere) that the aim of art is immediate pleasure, as distinct from utility, which is the end of the mechanical arts. He took a higher view of artistic imitation than Plato, holding that it implied knowledge and discovery, that its objects not only comprised particular ...