Light, Color, Interiority and the Aesthetics of Enchantment

Part of the Analecta Husserliana book series (ANHU, volume 65)


At various moments in the history of art, painters have represented interior places and scenes as metaphors for the interiors of selves: representations of architectural interiors and their inhabitants signify interiority. An interior is often an enclave for privacy, so the tie between represented interiors and conceptions of the self is not necessarily surprising. Yet few scholars have focused comparatively on representations of interiors as expressive of self and consciousness. How do representations of interior spaces metaphorically stand for the interiors of selves? This paper in aesthetics and art history analyzes the dialectic of self and interior space in art.


External Reality Interior Space Artistic Tradition Pictorial Space Aesthetic Response 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 1.
    Cohen, Richard: “Merleau-Ponty, the Flesh and Foucault,” Philosophy Today,vol. 28, 1984Google Scholar
  2. 3.
    Merleau-Ponty, Maurice, The Prose of the World, ed. Claude Lefort (Evanston: Northwestern University Press, 1973 ), p. 61.Google Scholar
  3. 4.
    Crowther, Paul, “Merleau-Ponty: Perception into Art,” British Journal of Aesthetics, vol. 22, no. 2, 1982, p. 140.CrossRefGoogle Scholar
  4. 7.
    Johns, Bethany, “Visual Metaphor: Lost and Found,” Semiotica, vol. 52, nos. 3 and 4, 1984, p. 192.Google Scholar
  5. 8.
    Crowther, “Merleau-Ponty: Perception into Art,” p. 141.Google Scholar
  6. 9.
    Merleau-Ponty, The Primacy of Perception, ed. James M. Edie ( Evanston: Northwestern University Press, 1964 ), p. 81.Google Scholar
  7. 10.
    Crowther, “Merleau-Ponty: Perception into Art,” p. 143.Google Scholar
  8. 11.
    Arasse, Daniel, Vermeer: Faith in Painting, trans. Terry Grabar (Princeton: Princeton University Press, 1994 ), p. 59.Google Scholar
  9. 16.
    McCall, Catherine, Concepts of Person: An Analysis of Concepts of Person, Self and Human Being, ( Brookfield: Avebury 1990 ), p. 113.Google Scholar
  10. 18.
    Gowing, Lawrence, Matisse ( New York and Toronto: Oxford University Press, 1979 ), p. 10.Google Scholar
  11. 22.
    In Herbert and Hinshelwood, 1978, p. 2.Google Scholar
  12. 29.
    Quoted in The Oxford Dictionary of Art,ed. by Ian Chilvers and Harold Osborne (Oxford, New York: Oxford University Press, 1994), p. 33.Google Scholar
  13. 31.
    Sinclair, Andrew, Francis Bacon: His Violent Life and Times ( New York: Crown Publishers, Inc., 1993 ), p. 54.Google Scholar
  14. 32.
    Leiris, Michel, Francis Bacon: Full Face and in Profile, trans. by John Weightman (New York: Rizzoli International Publications, Inc., 1983 ) p. 20.Google Scholar
  15. 33.
    For a detailed study of the major artists in this movement, see Jan Butterfield, The Art of Light and Space ( New York: Abbeville Press, 1993 ).Google Scholar
  16. 34.
    A useful pictorial introduction to installation art is Nicolas de Oliveira, Nicola Oxley and Michael Petry, Installation Art ( Washington, D.C.: Smithsonian Institution Press and Thames and Hudson, 1994 ).Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2000

Authors and Affiliations

  1. 1.Northern Michigan UniversityUSA

Personalised recommendations