Edvard Munch

This is the third article in the series on the Norwegian painter
Edvard Munch (1863–1944) and the “kill-or-cure” treatment
he purportedly exposed many of his paintings to. The “kill-orcure”
treatment supposedly consisted of exposing paintings to
the elements. 997 paintings from Munch’s estate have already
been studied in terms of bird droppings and water staining.
This article is about the paintings that have a weathered paint
surface. Of the 779 paintings that were examined, 43 per cent
were registered as having some degree of paint surface weathering.
An analysis of these paintings showed that most of the
paintings with a weathered paint surface are only slightly
weathered, i.e. the weathering is scarcely apparent to the untrained
eye. The majority of the paintings with a weathered
paint surface were painted on non-absorbent surfaces, which
may serve to confirm painting conservator Dørje-Haug’s
theory that Munch deliberately exposed his paintings to the
elements to make them appear less oily. The proportion of
paintings with a weathered paint surface increases with the
size of the paintings, which may indicate that the paintings
were exposed to the elements for practical reasons. It has
also been proven probable that the paintings may have suffered
weathering on the paint surface when stored in one of
Munch’s many unheated, uninsulated, draughty studios. Most
of the paintings that Munch signed and exhibited did not have
a weathered paint surface.

This paper discusses the manner in which anxiety is portrayed in Edvard Munch’s Self Portrait with the Spanish Flu (1919), painted while the artist was ill during the influenza epidemic. The epidemic spread across the world in 1918, during World War I, and took the lives of millions of people. Munch survived the illness and created a number of self portraits about the subject. The paper analyzes the anxiety element of Self Portrait with the Spanish Flu and argues that it discusses Munch’s anxiety over his own personal death. While many of Munch’s works deal with death, illnesses and anxiety, they mostly portray the death of others or an abstracted, philosophical anxiety that is related to collective emotions. Munch’s self portrait as a sick man during a pandemic touches on the deep understanding that the death of the self is certain, and on the anxiety that this understanding ensues.  For this aim, two earlier Munch paintings would be analyzed – Death in the Sickroom (1893) and Anxiety (1894) – in order to display how Munch adopted pictorial symbols of anxiety from his early works to portray the anxiety about his own death in the 1919 self portrait. The change in the location of anxiety should be understood as a response to the growing anxiety in the non combatant population during the epidemic years.

Bu çalışma; Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizmde resimsel anlamda tarz olarak soyutlama
evresine geçişi konu almıştır. Bu çalışma, nitel araştırma modeli tekniği kullanılarak oluşturulmuştur. Yapılan
çalışma ile bağlantılı kaynaklar taranarak konunun desteklenmesi sağlanmıştır. Böylece araştırmanın yöntemi alan
yazı taraması biçimindedir. Çalışmanın amacı, sanatçılar için en büyük ilham kaynağı olan doğayı sanat eserlerine
direkt olarak aktardıkları dönemden eserlerinde soyutlama yaparak doğayı deforme ve stilize ettikleri dönemin
aşamalarını incelemek olmuştur. Bu geçiş evresi, Orta Çağ’ın sona ermesiyle ve Rönesans döneminin başlangıcıyla
birlikte olmuştur. Ardından Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizm gibi akımların ortaya çıkması
ile birlikte sanatçının resimsel ifade biçimi daha çok bireyselleşmeye başlayarak özgün bir yorum kazanmıştır.
Bu çalışma ile sanatçıyı, resimsel ifade biçimi olarak soyutlamaya iten gücün, doğanın ötesinde sanatçının düşsel algısı
olduğu düşüncesi ortaya konulmaya çalışılmıştır. Ayrıca bu çalışmada soyutlamanın, doğa ile düş nesnesi arasındaki
farklılıkların görüntüye bürünmüş hali olduğu düşüncesi ve doğanın gerçekliği ile sanatçının içsel gerçekliği arasındaki
çatışmanın ürünü olduğu yargısı öne sürülmektedir. Araştırmalar çerçevesinde ulaşılan sonuç, Empresyonist, Kübist,
Sürrealist ve Ekspresyonist sanatçıların sanat eseri üretirken dış gerçekliği kendi iç gerçekliğine dönüştürdüğüdür.
Buna bağlı olarak sanatçı, zaman içerisinde doğanın kendisine sunduğu alışılmış ve sıradan görüntüden uzaklaşarak
doğadan aldığı ilham ile kendi düş dünyasında kurguladığı görüntüyü sanat eserine yansıtma gayreti gütmektedir.
Böylelikle eserlerine yansıttığı dış dünyaya ait nesne oluşumlarını soyutlama yaparak yeniden anlamlandırmaya çalışır.
Anahtar kelimeler: Soyutlama, Resim Sanatı, Sanatsal Tavır.
Abstract
This work; in pictorialism and style in Impressionism, Cubism, Surrealism and Expressionism, the subject is the
transition to abstraction. This study was developed by using qualitative research model technique. Resources related
to the study were scanned to support the subject. Thus, the method of the research is in the form of field text scanning.
The aim of the study was to examine the stages of the period in which they deformed and stylized nature by
abstraction in their works from the period in which they transferred nature directly to the works of art, which is the
greatest source of inspiration for the artists. This transitional phase coincided with the end of the Middle Ages and the
beginning of the Renaissance. Then, with the emergence of movements such as Impressionism, Cubism, Surrealism
and Expressionism, the artist’s artistic expression became more individualized and gained an original interpretation.
With this study, it is tried to put forward the idea that the power that pushes the artist to abstract as a form of
pictorial expression is the imaginary perception of the artist beyond nature. In this study, it is argued that abstraction
is the product of the conflict between the reality of nature and the artist’s inner reality. The result of the
research is that Impressionist, Cubist, Surrealist and Expressionist artists transform the external reality into their
own inner reality while producing works of art. As a result of this, the artist strives to reflect the image he has
created in his dream world to the work of art by getting away from the ordinary and ordinary image that nature
presents to him in time. In this way, he tries to re-interpret the object formations of the outer world by abstraction.
Key words: Abstraction, Painting Art, Artistic Attitude.

El intento innovador de renovación radical del arte, tanto de forma como de contenido, a principios del siglo pasado se conoce bajo la denominación de las vanguardias históricas. Estas tratan de varias corrientes, que abordan el intento de renovación artística como planteamientos divergentes centrados en la libertad de la expresión, y por lo siguiente, una actitud ante el arte, en lugar de su estética. En palabras de Pedraz (2018), el carácter de las vanguardias puede resumirse en: "la euforia, el desafío, la provocación, y frente a los valores establecidos, la originalidad y la innovación, así como una significativa fe en el progreso, en el avance y transformación hacia una sociedad mejor". Dichas vanguardias, a su vez, se subdividen en diferentes corrientes con características y autores propios, todo ello, en función del complejo contexto en que se envolvían. Estas revoluciones artísticas constaron de 3 grandes tendencias, como lo es la geometría, el objetualismo y la gestualidad. Esta última, como la máxima expresión de las emociones en lugar de la realidad, hace referencia al expresionismo. Este nació en un contexto concreto a principios de siglo XX, una época inestable de numerosos cambios socioeconómicos e ideológicos. En este periodo también podemos encontrar los hallazgos tecnológicos, y especialmente, la aparición de la plasmación fotográfica y cineasta. Precisamente por esta imitación de la realidad nació la idea de la plasmación de las emociones, en lugar de representar la realidad propiamente dicha. Fue una representación subjetiva de una época trágica, marcada por una tensión bélica constante de preparativos a las guerras, su desarrollo, y el tiempo posterior con sus consiguientes represiones. No serán menos que 2 contiendas mundiales (de 1914 a 1918, y de 1939 a 1945), que embarcaron de manera directa o indirecta a todo el Viejo Continente. Este clima fue el causante de esta corriente contraria al positivismo. Un escepticismo fundamentado en la crisis del desarrollo humano, especialmente visible en el ámbito socioeconómico centroeuropeo, pese al creciente nivel de industrialización. Por todo ello, el nacimiento de esta corriente en Alemania a principios del XX, no es ninguna casualidad, ya que estamos ante una nación conflictiva. Una situación vinculada directamente a la cuestión de la identidad nacional mediante, entre otros, la pérdida de la figura histórica del emperador. Todo ello remonta al 1870...

Análisis de tres propuestas artísticas (Edvard Munch, David Alfaro Siqueiros, Graciela González Duque) que coinciden a pesar de que ocurren en momentos históricos diferentes. Suceden, así lo creo, por la inevitable necesidad de afrontar situaciones que se repiten en la historia del ser humano; son propuestas que revelan el lado pesimista de la vida generado por las circunstancias históricas del momento, y denuncian la cara oculta de la modernización: la alineación, el aislamiento y la masificación que se hicieron palpables en las grandes ciudades.

Der Strand wird zum Atelier, der männliche Körper zum Motiv, eine Kunsthalle zum Schwimmbad. Das Buch präsentiert mit Edvard Munch, Eugène Jansson, J.A.G. Acke und J.F. Willumsen vier skandinavische Künstler, die um 1910 das Baden, ihren eigenen nackten Körper und den männlichen Akt entdecken, mit Fotografie experimentieren und visuelle Autobiografien entwerfen. Die Reaktionen des Publikums reichten von Zensur bis zur Feier einer als spezifisch nordisch aufgefassten Natürlichkeit.
Lill-Ann Körber erörtert die Geschichten hinter den Bildern, eröffnet einen neuen Blick auf Edvard Munch und verbindet Kunst-, Medien- und Kulturgeschichte mit Fragen nach Männlichkeit und Sexualität.


http://www.transcript-verlag.de/978-3-8376-2093-1/badende-maenner

http://www.amazon.de/Badende-Männer-skandinavischen-Fotografie-Jahrhunderts/dp/383762093X/ref=sr_1_1?ie=UTF8&qid=1415887050&sr=8-1&keywords=körber+badende

The purpose of the present book is not to make a contribution to the large literature on Edvard Munch's extensive career as a painter and printmaker. Munch's production of paintings is enormous: at his death in 1944 he had stored 1,008 paintings, to be added to all the paintings he had given away or sold in the course of his over sixty years career. He also made  thousands of drawings, watercolors, prints and sculptures in large groups of thematically connected works.  We have limited our work to a fraction of the total, aiming to make available for a wide audience a selection of paintings and prints organized around his preferred themes.
We have paid great attention to the themes of love and death, sexual love, attraction, separation and jealousy, which dominate both separately and interrelated the subjects of Munch's art, as well as on the painter's emotional states of anxiety and melancholy. And undoubtedly Munch's relations with women are at the centre of this thematic organization and of his whole œuvre, which turned around what he called "those dammed affairs with women". While his personal experience and the mood and literature of the time remained seeing women as sources of temptation, danger and sin, the social push for women's emancipation meant for Munch a source of concern, not of satisfaction, a strenghthening of his feeling of fear, which acted as a restraint of his longing for them.

Almost half of the roughly 1,100 paintings Munch bequeathed
to the City of Oslo in 1944 have or have had
bird droppings on them. The question of whether these
organic deposits were a result of weather exposure as
an artistic method (known as the “kill-or-cure” treatment)
or whether they were caused by other circumstances
was investigated using a quantitative analysis
of the paintings and a study of historical photographic
documentation. The study found that the bird droppings
were probably a random event and not a necessary
consequence of exposure to the elements as part
of the “kill-or-cure” treatment. Very few of the paintings
Munch exhibited can conclusively be documented
as having had bird droppings on them when they
were exhibited. A similar study will now be carried
out focusing on water staining and paint degradation
in Munch’s paintings. The goal is to ascertain whether
Munch used weather exposure as an artistic method.

Scientific contexts of the “Fear of Stars”: A commentary on Andrej Belyj

Fear of stars was frequently expressed at the end of the 19th and the beginning of the 20th century. It was rooted both in apocalyptic fears and in the rejection of modern cosmology current at that time. Besides, morbid fears, of great interest to the contemporary psychiatry, included the so-called “astraphobia”, fear of lightning, gradually re-interpreted as fear of stars, which contributed to the attention to the topic. All of these contexts have to be taken into account when commenting on Andrej Belyj’s “Sphynx” (1905) and “Second Symphony (Dramatical)” (1902).

La ricerca verte sulle modifiche di carattere iconografiche che hanno riguardato alcune creature prodigiose del bestiario classico: Cerbero, le sirene e i draghi marini. L’obiettivo di questo studio è quello di analizzare come alcune di queste creature siano state tramandate, da una cultura all’altra, a livello iconografico.

The research focuses on iconographic changes that have affected some prodigious creatures of classic bestiary: Cerberus, the mermaids and the sea dragons. The aim of this study is to analyze how some of these creatures have been handed down, from one culture to the other, at iconographic level.

A partir de 1956, momento en que abandona el surrealismo en busca de otras estructuras en la imagen pictórica, Antonio Saura sólo pintará cabezas. Esa cabeza será su seña de identidad a partir de entonces, y la fundación del grupo “El Paso” por él mismo, en 1957, supuso la confirmación de esa tendencia y ese impulso imparable de explorar nuevas vías en su obra, que le llevarían a crear un universo propio lleno de ojos, cabezas, signos, trazos y referencias múltiples a todo lo que le rodeaba, le fascinaba y le obsesionaba. A lo largo de su carrera, volvió una y otra vez a los mismos temas que, en el fondo —como él mismo dice—, son variaciones de una misma estructura: un rostro, una cara, una cabeza, más o menos deformada, más o menos deconstruida y reconstruida. Eso le lleva a crear un universo poblado de retratos, de “monstruos pintados”, de autorretratos y de Perros de Goya. Pero una multitud es también una acumulación de cabezas.
En la evolución de una esquemática y fragmentaria manera de representar las Multitudes que se dan en el arte español desde Goya hasta Antonio Saura, ya sea pictórica o gráficamente,
se cuela un visitante nórdico a primera vista inesperado: Edvard Munch. Si bien causa algo de sorpresa inicial, el artista noruego es uno de los pilares fundamentales para Antonio Saura en su culminación de la expresión a través de multitudes indefinidas, es decir, tratadas como una masa compacta que se rebela actuando como un todo, una idea que ya había desarrollado Ortega y Gasset en 1930 en su obra La rebelión de las masas. Munch se convierte, pues, en un paso necesario entre la obra de Goya y Saura, un paso en un camino que toma prestadas ideas e imágenes de artistas como Ensor, de Kooning, Bacon o Jorn: la multitud en movimiento, la masa que grita silenciosamente.

Among Edvard Munch’s many portraits of Henrik Ibsen, the famous
Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a  play about love lost and lives unlived—I  explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.

Her dalıyla sanat, üretimin bireyselliği, ürünün özgünlüğü ve eseri gerçekleştiren sanatçının yaratıcılığı, toplumsal normların dışına çıkabilir oluşuyla birey gelişiminin özgül ve uç bir alanını oluşturur. Öznellik ve bireyselliğin toplumsallıkla karşıtlaşarak gelişimi ya da toplumsallığın içerisinde bireyin gelişimini yeti ve özelliklerini kaybetmeden sürdürmesi sanatçı bireyin toplumla olan ilişkisinde çok daha çarpıcı bir hal almakla birlikte, bu konu, toplumun bireyle, bireyin toplumla ilişkisinin temel sorunudur.  Soyut resme geçişle sanatsal yaratımda özne-nesne ilişkilerinde gerçekleşen değişimin, ekolleriyle, estetik ve  felsefi açıdan eleştirel bir değerlendirmesini içeren bu çalışma, kapitalizmde birey gelişiminin sınırlarını ve çok yönlü gelişim olanaklarıyla komünizmin özgürleştirici potansiyellerini, sınıf, toplum, birey ilişkileri içerisinden ortaya koymayı amaçlayan bir çalışmanın bir parçasıdır.

Ten years after submitting The Sick Child to Høstustillingen (The Autumn Exhibition), Munch revised it in accordance with a newly found aesthetic conviction, displayed in his Frieze of Life. The revision was an effort to annex The Sick Child in retrospect to the Frieze, distorting its original intention. The Sick Child stands out from Munch's other works, bearing witness to a personal drama. It was a portrait from memory of a sister who died when the artist was 13 years old. It took him 10 years to finish the painting and in this note I shall focus on this long and complicated process with the assistance of Freud's concept "Nachträglichkeit".

Museums have evolved through the years, from collections of imperial sovereignty to enlightenment institutions for the population, until now to the museum as a business enterprise in our consumer society (Janes & Sandell, 2018). No matter the social-environmental and political conditions, museums have always had an ‘adaptive intuition’ that made institution transform themselves. Here, change in programming formats offer the chance to reach out to new audience as active participants and yet, the neoliberal agenda often overturn the latter to passive consumer.
Through the case study of the Munch on the Move project, my research explores how the Munch Museum uses different formats of programming to become relevant for its domestic audience and its community. An analysis of the events of the MoM was carried out by the use of the content analysis, along with a comparison with the ongoing changes of the museum. Drawing on Simon’s (2006; 2011) and Claire Bishop (2012) theories regarding the participatory museum and audience as spectator and participant, I argue that outreach experimental activities have the potential to change the relationship with its community only if the museum enact the audience in the role of active participant through co-production. At its core, the off-site projects of Munch on the Move are not about establishing a stable relationship but start a kindle of interest.

Выступление на V конференции исследователей комикса "Наука о комиксах", тема "Комикс - посредник истории и памяти", секция "Комикс и (авто)биография: вспоминая себя и других ", 25-26 марта, Библиотека комиксов в Санкт-Петербурге

Аннотация: Если в США жанр документального комикса стал развиваться с 60-х–70-х гг., то в Норвегии он приобрел популярность в 80-е–90-е гг., с выходом таких оригинальных комиксов об исторических личностях, как трилогия о Фритьофе Нансене (1985–87) и биография реформатора языка Ивара Осена (1996). Особенно небанальный подход к трансляции культурной памяти через документальные комиксы нашел художник Стеффен Квернеланн, который с 90-х гг. создает радикальные работы в этом жанре в технике, вдохновленной монтажом (cut-ups) Берроуза: «нарезая» цитаты из литературных и документальных источников, он комбинирует их нужным образом и создает саркастические, местами абсурдистские графические новеллы. Стряхивая пыль с забронзовевших норвежских классиков в серии «Ампутированные классики» (Amputerte klassikere, 1994–2001), в постмодернистской биографии писателя Арне Гарборга Garborg & Co, а также в совместных с Ларсом Фиске работах Olaf G. (комикс-биография карикатуриста Олафа Гульбранссона, 2004) и Munch (2013) – выдающейся книге, отмеченной Призом Браги, он одновременно подрывает культурный канон своим анархистским сарказмом и оживляет его.

Umberto Boccioni, during his Pre-Futurist years, looked at the European art movements with interest. At that time in Italy, the extensively illustrated magazine "Emporium”, directed by Vittorio Pica, was the main medium to access to the most advanced research in the artistic and figurative fields. In “Emporium”, paintings, sculptures, photographs, and illustrations were reproduced and quickly became a useful tool for artists forming an aesthetical culture. In the same period, in Italy foreign periodicals began to circulate, especially German ones, which informed about the contemporary artistic trends of northern Europe. Magazines such as "Die Kunst für Alle", "Jugend" or "Die Graphischen Künste" were collected by the libraries of the main Italian Art Academies. Boccioni was no stranger to this process of cultural renewal and openness that spread through the press. This essay intend to verify and inspect references and relationships between the work of Boccioni and other artistic manifestations present in Italy between 1908 and 1911, that could be found in the periodicals and art exhibitions of those years.

Eines der bekanntesten Bilder der Welt, Skrik (Schrei) von Edvard Munch, visualisiert einzigartig die Durchdringung der Grenzen von Innen und Außen, von Mensch und Raum. Ursprünglich Verzwei ung genannt, steht es symbolisch für Ängste und Emotionen einer ganzen Generation.
Sein erster Interpret war "der geniale Pole" Stanislaw Przybyszewski, welcher später ein einflußreicher Impressario Munchs in Mitteleuopa und Skandinavien.

My input was to make an interpretation of some relations between literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland.

The two canvas paintings The Sun and The Re
searchers, painted by Edvard Munch for the
competition for the decoration of the Assem
bly Hall (Aula) of Oslo University inl9ll, are per
manently exhibited in the Aula at the Munch
museum in Oslo. These two .canvas paintings
(measuring opp. 35 m2 and 49 m9, were conso
lidated and cleaned in this room in 2005-2006.
The article describes the challenges connected
with consolidating big paintings in general, and
Munch-paintings especially, and how these dis
temper-similar paintings were consolidated and
cleaned with isinglass (The Sun) and with rege
nerating an alder gelatine consolidation with
Ultrasonic Mister (The Researchers).

Se pretende analizar las relaciones intratextuales entre la versión primera y la versión oficial del poema “Los heraldos negros” de César Vallejo, a partir de los gramas (fonético, sémico y sintagmático) del texto barroco según Severo Sarduy; así como las relaciones intertextuales de ambos textos con El grito de Edvard Munch, en tanto reminiscencias de una textualidad de perspectiva existencial.

De 1797 a 1997, en la evolución de una esquemática y fragmentaria manera de representar las multitudes que se dan en el arte español desde Goya hasta Antonio Saura, ya sea pictórica o gráficamente, se cuela un visitante nórdico a primera vista inesperado: Edvard Munch. Este artículo quiere demostrar que, si bien causa algo de sorpresa inicial, el artista noruego es uno de los pilares fundamentales para Antonio Saura en su culminación de la expresión a través de multitudes indefinidas, es decir, tratadas como una masa compacta que actúa como un todo, una idea que ya habían desarrollado Baudelaire, Nietzsche, Ortega (en 1930 en su obra La rebelión de las masas) o Benjamin. Munch se convierte, pues, en un paso necesario entre la obra de Goya y Saura, un paso en un camino que toma prestadas ideas e imágenes de artistas como Ensor, Monet, Pollock, Bacon o Jorn: la multitud en movimiento, la masa que grita silenciosamente.

The author studies the similarities between Alonso Berruguete and El Greco inasmuch as their art shares a common slant, Hispanic mannerism. What an impact did Berruguete’s creative urge strike on El Greco when the latter arrived in Toledo. Two men of genius who were forerunners of their time stamp each of them in his work his own distinct nature, though both equally modern: Berruguete expressing his vital anguish and El Greco creating a new scene with his painting, both artists break with the classical Italian models.

El autor trata acerca de los paralelismos existentes entre Alonso Berruguete y El Greco en la medida que su arte responde a un sesgo común, el manierismo hispánico; Cómo debió impactar a El Greco el ímpetu creativo de la obra de Berruguete cuando llegó a Toledo. Dos genios que se anticipan a su tiempo, imprimiendo cada uno a su obra un carácter distintivo igualmente moderno. Berruguete expresando su angustia existencial y El Greco creando un nuevo escenario pictórico, ambos rompiendo con los modelos clásicos italianos.

Breve ensayo realizado para la asignatura de Historia del arte contemporáneo perteneciente al segundo curso establecido por el plan de estudios del grado en Filosofía de la Universidad Complutense de Madrid y cuyo objetivo es tratar los conceptos de existencialismo y expresionismo a través de la obra de Edvard Munch.

This paper is an interpretation of some interpretation of the correspondences of literary and fine art works of Stanisław Przybyszewski, Edvard Munch and Gustav Vigeland.  Based on this researchI indicated the origins of the pre-expressionist theory of art.

Similiar paper of mine in German appeared in the magazine Deshima in 2009.

This piece, written originally during my postgraduate studies of Humanities and Social Sciences at the Anglo-American University in Prague, covers two topics. The first two section focus on the French aesthetic tradition, covering the transition from German to French aesthetics (section 1) and then discussing the aesthetic theories of Lacan, Deleuze and Guattari and Niklas Luhmann vis-á-vis Peter Watkins's 1974 film "Edvard Munch" (section 2). The final section of the essay returns to Kantian aesthetics and its applicability in modern and contemporary art.