La semiótica plástica de Algirdas Julien Greimas aplicada a la obra bidimensional La danza barnes (1932-1933) de Henri Matisse

  1. Ana María Sainz Gil 1
  1. 1 Universidad Politécnica de Valencia
    info

    Universidad Politécnica de Valencia

    Valencia, España

    ROR https://ror.org/01460j859

Journal:
Ausart aldizkaria: arte ikerkuntzarako aldizkaria = journal for research in art = revista para la investigación en arte

ISSN: 2340-8510,  2340-9134

Year of publication: 2017

Issue Title: Interrogantes feministas en la producción artística

Volume: 5

Issue: 1

Pages: 193-218

Type: Article

DOI: 10.1387/AUSART.17117 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Ausart aldizkaria: arte ikerkuntzarako aldizkaria = journal for research in art = revista para la investigación en arte

Abstract

Semiotics is not an act of reading; but an attitude of exploration of what is background in all meaning, its roots and the machines that support it. Plastic semiotics of Algirdas Julien Greimas falls within the soft technologies that can be explored to protect the resource depletion of artistic practices. The founder of A.J. Greimas ‘Figurative semiotics and plastic semiotics’ article is the basis of this work which is described in detail as the level of expression and its corresponding joint plane contained in a two-dimensional work articulates. The artist Henrri Matisse analyzed, reflected and rationalized on art with his artistic practice, his way of working was similar to that of a semiotician, why has chosen this genius of art to put the theory of semiotician Greimas in practice, his work Barnes Dance (1932-1933), is key to his career. With this analysis we practice the theory of generative semiotics Greimas on plastic language to understand how it works, experiment with it and become able to use it empowered way .

Bibliographic References

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Data source: Dialnet