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Britsch's Lesson

Synthetic Cubism as Gestalt-Perception 

Verstegen, Ian

Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, Bd. 60 (2015), Iss. 2: S. 87–97

1 Citations (CrossRef)

Zusätzliche Informationen

Bibliografische Daten

Verstegen, Ian

Cited By

  1. Handbuch Kulturphilosophie

    Klassische Positionen

    Gilbhard, Thomas

    Thoma, Heinz

    Heinz, Marion

    Maurer, Michael

    Zelle, Carsten

    Jamme, Christoph

    Sommer, Andreas Urs

    Geßner, Willfried

    Hampe, Michael

    Renz, Ursula

    Woldt, Isabella

    Richter, Cornelia

    Heidbrink, Ludger

    Langbehn, Claus

    Bermes, Christian

    Winter, Rainer

    Makropoulos, Michael

    Becker, Ralf

    Schweppenhäuser, Gerhard

    Kämpf, Heike

    Rudolph, Enno

    Schneider, Ulrich Johannes

    Lüscher, Jonas

    2012

    https://doi.org/10.1007/978-3-476-05322-0_3 [Citations: 0]

Abstract

Rudolf Arnheim’s theory of perception has been used to challenge the highly influential account of synthetic Cubism as a sign-like process of Rosalind Krauss and Yve-Alain Bois. While the use of Arnheim’s idea of perceptual substitution works in a theoretical sense, it is less successful as a historical argument, because unlike Picasso’s art dealer, Daniel-Henry Kahnweiler, who is discussed by Bois, Arnheim’s ideas weren’t formulated until the 1950s. This article enriches the theoretical argument made on behalf of Arnheim by supplying the theory of Gustaf Britsch as a historical link that fed Arnheim’s later rigorous theory. Britsch articulated an early theory of perceptual substitution, a kind of Gestalt-perception, that is capable of accounting for the innovations of Synthetic Cubism.