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ELRIC MIAULTTARIs
Lives and works in paris, France
 www.worldofartmagazine.com
artist contact
 elricmiaultdetaris@yahoo.fr
AgArTHA, PIgMenTs, MInerAL, MeTAL On CAnVAs 77x38 In. /198x97 CM.
The evolution of linguistics, psychology, history of religions and
history of art, the problems of signs, of symbols and myths have
in fact been considered in their relationship with the methods and
principles of their various interpretations. In this way the study of the
history of art can not be separated from any of the other humanistic
disciplines, because it is indispensable for a broader and correct
comprehension of the various fields of human knowledge and of
reality itself. If a symbol represents one of the elements generally
common to the various disciplines then the history of art can
become not only the history of semiotics but of all those disciplines
that in the past shared the field of signs and symbols - semantics,
logic, rhetoric, investigation, aesthetics, philosophy, ethnology,
psychoanalysis, poetics -. and of some of their subjects named,
from time to time, imitation and beauty, education and pleasure,
tropes and figures, condensation and movement.
Through the study of the history of art, of signs and symbols, we
put forward as a possibility the research of a plural and typological
thought, which maintains the differences without emphasizing it.
A methodological principle where the reading of an artistic text is
intended as a description and an interpretation at the same time:
a course into space of an artistic personality.
The relations between art, literature and philosophy are a continuum:
from Ficino and Leonardo to Rilke and Rodine, to Beckett and Bacon,
up to the contemporary minimalists. Therefore art criticism must not
be a merely structural construction (without art), but a vital, dynamic
portrait of a work where the many types, not the many substances,
are the subjects because, otherwise, there would be established a
factious hierarchy that can not absolutely take place.
Precisely in the name of interdisciplinary we should deeply commit
ourselves to overcome the ’perception’ of artistic language that
distinguishes a creative experience, towards a broader dimension of
the imaginative production, able to maintain the irreducible plurality
of the ways of sense, by virtue of a research which preserves a
work from the particularity of fashions and of temporal restrictions,
proposing a reading for inner courses, easily understood by
everyone. TRENDS