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ŠTYRI ŽIVLY V DIELE FAUST

100%
Šantová K.
ESPES
|
2014
|
vol. 3
|
issue 2
83 – 92
EN
The article shows the way of explaining the four elements in the artwork Faust. There are more authors who claim that the times of Hegel and Goethe were the last period, during which was four elements taken as a topic of philosophy and science. Goethe was a person representing the science and the art in one. Bockemühl is comparing the Goethe ́s steps of research to the four elements, His research of the scientific images were transported as symbols into the both parts of Faust. The article offers more opinions on the topic of the four elements: Sullivan describes Goethe ́s Witterunglehre, Kalnická writes about the water as a symbol of the female element. Jung analyses Mefisto as an example of the temptation in the form of an attractive light (flame). The author is considering the option that Faust as a person may be a representative of the culture which stands as an opposite to the nature (elements). The four elements are Faust ́s competitor during his wandering. The last part of the text is concluded by three chosen illustration of the Faust. All of them were made in different times.
2

ICONOSOPHY. RELATIONSHIP BETWEEN COLOUR THEORY AND ICONOGRAPHY (GOETHE AND TURNER. THE LABYRINTH OF WORD AND LIGHT)

75%
Pinero Moral R., Dohna Y.
ARS
|
2011
|
vol. 44
|
issue 2
222-251
EN
The article argues that from a theoretical and philosophical point of view we must see colour as having an independent and autonomous language, which is essential for the interpretation of a work of art. The first part discusses the limits of the method of iconography, and the role of perception. The second part unveils the general meaning of the rhetoric of colour. The last part applies the theoretical observations to a specific work of art, Turners’ “Light and Colour (Goethe’s theory) – the Morning after the Deluge – Moses Writing the Book of the Genesis” interpreted through Goethe’s theory of colour.
3

SVETLO A FARBA

63%
Scala A.
Filozofia (Philosophy)
|
2017
|
vol. 72
|
issue 4
271 – 282
EN
Philosophy and visual arts seemed to agree: from an intelligible point of view, colours are submitted to the light despite the sensible fact that no light is visible without colour. The colour is submitted to the drawing as secondary qualities are to primary ones; colours are unable to create forms or figures. When Newton discovered that white differs from other colours, the latter achieved a new status especially in visual arts: they achieved a certain freedom from drawing. A long time after Newton, Kupka came. But between Newton and Kupka, Goethe wrote his Theory of colours and criticized Newton’s indifference to the visual experience. According to Goethe, colours are produced by the world itself, i.e. by a certain degree of turbidity in the air. So colours are no more obliged to give credit to the drawing as a paradigm of the forms. As Robert Delaunay says, colours create forms.
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