Volume 7, Issue 6, November 2019, Page: 132-138
To Be a Box or Not to Be a Box: The Multiple Meanings of the Metaphor in Antoni Tàpies
Fernando Echarri, University of Navarra Museum, University of Navarra, Pamplona, Spain
Victor Echarri, Department of Architectural Constructions, University of Alicante, Alicante, Spain
Received: Sep. 17, 2019;       Accepted: Oct. 5, 2019;       Published: Oct. 16, 2019
DOI: 10.11648/j.ijla.20190706.11      View  453      Downloads  123
The reality that surrounds us throws us continuous messages that are perceived by our senses. In this perception, sight is configured as a principal sense capable of obtaining many of these messages and generating, from these perceptions, numerous thoughts, feelings and emotions. In this way, the routine of I see-thought-question- is established. The education of the gaze then becomes a matter of first order to favor the understanding of our world. Art, as a form of reality, or as an adaptation of reality, can be used as a tool to promote a different way of looking, it can be a discipline that can help to understand our reality. The following article studies the metaphor as a possible resource for the awareness of reality. An example of a metaphor, its possibility of inquiry, and discovery of meaning is the artwork Composicio amb cistella made in 1996 by Antonio Tàpies, which is part of the collection of the University of Navarra Museum. The Catalan artist uses metaphor in this sculpture trying to deceive the eye that looks at it, in an attempt to encourage participation and reflexive activation of visitors to the Museum. The conceptualization of the sculpture is specifically studied, in a synthetic way, through a philosophical approach on the aesthetic and the metaphor contributed by José Ortega y Grasset. The aim is to get support from aesthetic- philosophical which helps explore the possibilities of the metaphor as an aesthetic resource for the awareness of reality.
Gaze Education, Aesthetic Education, Metaphor, Ortega Y Gasset, Tàpies
To cite this article
Fernando Echarri, Victor Echarri, To Be a Box or Not to Be a Box: The Multiple Meanings of the Metaphor in Antoni Tàpies, International Journal of Literature and Arts. Vol. 7, No. 6, 2019, pp. 132-138. doi: 10.11648/j.ijla.20190706.11
Copyright © 2019 Authors retain the copyright of this article.
This article is an open access article distributed under the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/) which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abram, D. (2010), Becoming animal: An earthly cosmology. New York: Pantheon Books, pp. 49-50.
Clayton, S. y Myers, G. (2015), Conservation Psychology. Understanding and promoting human care for nature. Oxford: Wiley Blackwell.
Whitman, W. (1955), Hojas de hierba [Leaves of Grass], Barcelona: Mayol Pujol, p. 136.
Cossio, M. B. (1929), De su jornada (fragmentos). Madrid: Imp. de Blass, pp. 6-7.
Arnheim, R. (1969), Visual Thinking. Berkeley and Los Angeles, California: University of California Press.
Carson, R. (1956), El sentido del asombro. Madrid: Ediciones Encuentro.
Manrique, C. (2005), César Manrique la palabra encendida. Selección de textos e introducción de Fernando Gómez Aguilera. León: Universidad de León. Pástica & palabra, p. 29.
Tàpies, A. (1967), “El joc de saber mirar”. Cavall Fort, 82.
Yenawine, P. (2013), Visual thinking strategies. Using art to deepen learning across school disciplines. Cambridge: Harvard education press, pp. 6-7.
Palazuelo, P. (2011), Palazuelo. La línea que sueña. Galería de arte Fernández-Braso, Madrid, p. 27.
López-Remiro, M. (2007), Mark Rothko. Escritos sobre arte (1934-1969). Barcelona: Paidós Estética, p. 18.
Ortega y Gasset, J. (2010) (1ª edition 1925), España invertebrada. La deshumanización del arte y otros ensayos de estética. Centro editor PDA: Barcelona, pp. 186, 134-136, 178, 183, 254, 222, 183, 253, 174, 175, 183.
Berger, J. (1972), Ways of Seeing. London: Penguin books.
Viber, J. (2016), Presentación de la exposición “Aurelia immortal”. Museo Universidad de Navarra.
Merino, J. L. (2008), Habla Oteiza. Bilbao: Editorial Avance Proyectos. Colegio Oficial de Arquitectos Vasco-Navarro, p. 40.
Malévich, K. (2008), Escritos. Madrid: Síntesis, p. 235.
Ausubel, D. P. (1968), Educational Psychology: A Cognitive View. New York: Holt, Rinehart and Winston.
Novak, J. D., and D. B. Gowin. (1984), Learning How to Learn. Cambridge: Cambridge University Press.
Pastor, M. I. (2004), Pedagogía museística: Nuevas perspectivas y tendencias actuales. Barcelona: Ariel Patrimonio, p. 44.
Priem, K. and Mayer, C. (2017), “Learning how to see and feel: Alfred Lichtwark and his concept of artistic and aesthetic education”. International Journal of the History of Education, 53 (3), 199-213.
Acedo, N. (2015), Arte contemporáneo y percepción activa: reflexión crítica frente a contemplación, 65-76. In: Llano, A. (Ed.). (2015), El arte más allá de sí mismo, 77-89. Madrid: Biblioteca nueva.
Herrmanns, R. (1970). The Most Beautiful Painting in the World. Exeter: Wheaton.
Chawla, L. (1998), “Significant Life Experiences Revisited: a review of research on sources of environmental sensitivity”. Environmental Education Research, 4 (4), pp. 369-382. doi. org/10.1080/1350462980040402.
Olmo, S. (ed.). (2015), Colección María Josefa Huarte. Abstracción y modernidad [Abstraction and Modernity]. Pamplona: University of Navarra Museum.
Vilar, G. (2007), Desartizacion. Paradojas del arte sin fin. Salamanca: Ediciones Universidad de Salamanca, p. 191.
Abril, M. (1926), “Itinerario ideal del nuevo arte plástico”. Revista de Occidente, Diciembre, 343-367.
Carbonell, C. (2015), Platón visita una exposición de Malévich. El arte en la ampliación de la experiencia filosófica, 91-109. In: Llano, A. (Ed.). (2015), El arte más allá de sí mismo, 77-89. Madrid: Biblioteca nueva, p. 104.
Browse journals by subject