Concepts and senses in visual art
Through the example of analysis of some works by Bruegel the Elder
Bibliographic Data
| ID | 4475199 |
|---|---|
| Authors | Georgij Yu Somov (corresponding author) |
| Year | 2010 |
| Volume | 2010 |
| Issue | 182 |
| Publication date | 2010-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Semiotica (JOURNAL) |
| Journal identifiers | ISSN: 0037-1998 • E-ISSN: 1613-3692 |
| Publisher | Walter de Gruyter GmbH (PUBLISHER • DE) |
| DOI | 10.1515/semi.2010.068 |
| OpenAlex | W2034340769 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
The conceptuality of works of visual art is a manifestation of the conceptuality of sign systems in general. In visual art, concepts rely upon verbal sign systems, including texts that prevail in culture, as well as upon sign systems of visual art and its most famous works. Conceptual schemes are intensified by metaphors, metonymies, and interrelations of denotations and connotations. Basic senses of the entire conceptual scheme and separate concepts are accompanied by various meanings of visual signs. Developed manifestations of such conceptuality are revealed in the course of analysis of Pieter Bruegel the Elder's works, in which some Hieronymus Bosch's concepts and visual signs are used
Aesthetics · Art · Linguistics · Semiotics · Sign (mathematics) · Sign system · Mathematics · Philosophy · Visual Culture and Art Theory
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,1 |
| Citation span | 2016 - 2016 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |