The Liquid Human Face: From Academic Fisiognomy of Emotions to a Sustancial Phisiology of the Screens in Contemporary Art
Abstract
Academic and scientific treatises analyzing the representation of emotions through the human face adopted the medieval icon of Veronica as a model for their graphic studies between XVI and XIX centuries as they applied an idealistic, analytical and quantitative approach. On the contrary, today plastic and visual creators are facing the problem of expression from a substantial perspective of artistic screen, considered as the material source through which emanates the emotional substance: The faciality of the canvas support, of the sculptural materials or of the video projector.
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