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Henri Bergson, Neoplatonist, and the Cubist Aesthetic: Part Fourteen

Antliff wrote that the Symbolist poet Tancrède de Visan (who had begun attending Bergson’s lectures before 1904 and who wrote the first extended discussion of the theoretical parallels between Bergson’s philosophy and Symbolism) was the primary Bergsonian theorist within Cubist circles.1 Green thought the Cubists became familiar with Bergson’s theories through the writing of Jules Romains.2 Antliff dates Romains’ familiarity with Bergson to 1906 or earlier. 564 more words

Philosophy

Henri Bergson, Neoplatonist, and the Cubist Aesthetic: Part Thirteen

Bergson’s view of man as a creator, above the approval of fellow humanity, reads as Nietzschean. In Mind – Energy he wrote ‘the joy he feels is the joy of a god.’1 He equated this person with ‘superman’2 – in Nietzsche’s philosophy the higher state of Übermensch embodies the ‘will to power’ and creation. 1,052 more words

Philosophy

Thinking and memory-making

This blog is, at present, a place where I am trying to concentrate and clarify my thoughts into something more accessible and easier to assimilate for future reference, whilst another complex almost random and unconscious process happens within me, day and night. 215 more words

Archive

Henri Bergson, Neoplatonist, and the Cubist Aesthetic: Part Twelve

In ‘The Life and Work of Félix Ravaisson’ (1904) Bergson praised da Vinci’s Mona Lisa as an example of artistic intuition (da Vinci’s experience of his model) in which the line, form and colour lead us ‘toward a virtual centre located behind the image.’1 By entering into or identifying with a character… 839 more words

Philosophy

Henri Bergson, Neoplatonist, and the Cubist Aesthetic: Part Eleven

Creativity was a key concept for Bergson. He titled his major work Creative Evolution. In this book he discussed his notion of artistic intuition and claimed that the creative urge is at the heart of evolution. 817 more words

Philosophy

Henri Bergson, Neoplatonist, and the Cubist Aesthetic: Part Ten

The importance of Bergson’s philosophy to an understanding of the development of abstraction and early twentieth century Modernism cannot be overstated. The similarity in the treatment of form woven into pictorial space in the art of Cubism, Futurism, Cubo-Futurism and Rayonnism (Rayism) in particular, find their connection here. 622 more words

Philosophy