Law, Cubism, Semiotics
Cubist form fragmentation, in particular its destruction of a harmonious surface-structure as well as its immanent breach of reference and representation is a sign of silence, which characterizes paintings in general. When the death of a figurative image occurs, language is its first victim. That silence is in the picture – pictures are arranged to radiate silence as a sign, and that purpose seems essential in pictorial representation: Mondrian, Rothko and others painted that fascination ([22] 171). Can one do this at all? What does this mean? Does it give a clue for a new and, above all, an encompassing understanding of the multiple aspects and fragments of our jubilee’s life work?
Table of contents
- 1. Painters create signs like lawyers create names
- 2. Being/Sign
- 3. The Cubist View and Style.
- 4. Signs and Names
- 5. Reflective Painting
- 6. Cézanne's Brushstrokes
- 7. Tyche
- 8. Visual Semiotics, Law
- 9. References
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