Personal space/privacy/intimacy/solitude
It is necessary for artists to dream, plan, and research on their own, and so the artist traditionally turns to a space of solitude. A space that is private, that they can claim for themselves; a place of intimacy. However, they are in no way limited by the walls and physical boundaries of these spaces. Bachelard concentrates on solitude, and repeats and emphasises the word heavily . He draws on the significance of solitude in creative endeavours, because free space not only represents freedom of expression, but freedom of imagination.
In investigation of this idea, the definition of solitude as opposed to loneliness must be recognised. The two are polar opposites, with solitude being a state of advantageous …show more content…
The attic resonates with this metaphorically, as well as being a 19th century symbol of romantic poverty and isolation. This ideology is the central theme of New Grub Street, by George Gissing, set in the literary circles of the 1880s, in a struggling writer’s garret. The anxieties of “household costs that mount steadily while his pen races frantically over the paper towards the publisher’s check” was the serious motivation for the central character’s work, emphasizing the “blind and brutal” nature of the literary world. The concept of art at a cost is embodied by the garret, becoming a symbol of the sacrifices for creative work. This struggle is the antagonising motive for the central character’s production, dually positive and negative inspiration; “for days after the last rejection he hid himself in his garret, hating the world” …show more content…
Anything existing undisturbed in its original pure state” The qualities of a blank state, in terms of an artistic study or studio, are encouraging to the development of the artist’s identity. As Jean Lescure aptly puts it: “An artist does not create the way he lives, he lives the way he creates” The philosophy of a tabula rasa space is founded on the principles that any common space can become a personalised haven of psychological consequence. In this model, poetry of place, rather than space, is mandatory due to the multiple possibilities within circumstance and place. Bachelard, discussing the structure of space surpassing physical characteristics, states, “a house that has been experienced is not an inert box. Inhabited space transcends geometric space” . The ‘spirit’ of the studio is the combination of arrangement of physical space, with kinds and qualities of materials, with responsibility of
It is necessary for artists to dream, plan, and research on their own, and so the artist traditionally turns to a space of solitude. A space that is private, that they can claim for themselves; a place of intimacy. However, they are in no way limited by the walls and physical boundaries of these spaces. Bachelard concentrates on solitude, and repeats and emphasises the word heavily . He draws on the significance of solitude in creative endeavours, because free space not only represents freedom of expression, but freedom of imagination.
In investigation of this idea, the definition of solitude as opposed to loneliness must be recognised. The two are polar opposites, with solitude being a state of advantageous …show more content…
The attic resonates with this metaphorically, as well as being a 19th century symbol of romantic poverty and isolation. This ideology is the central theme of New Grub Street, by George Gissing, set in the literary circles of the 1880s, in a struggling writer’s garret. The anxieties of “household costs that mount steadily while his pen races frantically over the paper towards the publisher’s check” was the serious motivation for the central character’s work, emphasizing the “blind and brutal” nature of the literary world. The concept of art at a cost is embodied by the garret, becoming a symbol of the sacrifices for creative work. This struggle is the antagonising motive for the central character’s production, dually positive and negative inspiration; “for days after the last rejection he hid himself in his garret, hating the world” …show more content…
Anything existing undisturbed in its original pure state” The qualities of a blank state, in terms of an artistic study or studio, are encouraging to the development of the artist’s identity. As Jean Lescure aptly puts it: “An artist does not create the way he lives, he lives the way he creates” The philosophy of a tabula rasa space is founded on the principles that any common space can become a personalised haven of psychological consequence. In this model, poetry of place, rather than space, is mandatory due to the multiple possibilities within circumstance and place. Bachelard, discussing the structure of space surpassing physical characteristics, states, “a house that has been experienced is not an inert box. Inhabited space transcends geometric space” . The ‘spirit’ of the studio is the combination of arrangement of physical space, with kinds and qualities of materials, with responsibility of