جدل الواقع والمتخيل في الرسم الحديث

Abstract EN

This paper focuses on (the dialectic of reality and imagined in modern painting), and it contains four chapters.

the first chapter explains the research problem, its importance, the need for it, its goal and its limits, and defines the most important terms there.

as for the second chapter, it includes the theoretical framework, which contains two sections.

the first part deals with (the structures of reality and the imagined in thought), which includes two axes, the first (from reality to realism) and the second (imagined reading in the concept), while the second topic deals with two axes also, the first includes (reality and imagined in art) and the second (transformations of reality and imagined through the ages).

this chapter also includes indicators of the theoretical framework and previous studies.

the third chapter concerns with the research procedures, which includes defining the research community and selecting the research sample, which amounted to (3) oil paintings, as well as the research tool in which the researcher relies on the indicators of the theoretical framework for analyzing the sample, and then the researcher reviews the research sample and analyzes it.

the fourth chapter contains results, conclusions, recommendations and suggestions.

the researcher reaches the main results, including 1- the cross-fertilization of the elements (reality) and (imaginary) in some currents of modern painting by giving the realistic form imaginary influences, which charged the general composition with a neutral energy in relation between reality and the imagined as in the models (1, 3,3).

2- dismantling the forms and reconstructing them with geometric abstract formulas that charged the composition with a dynamic visual energy, transporting the recipient to spiritual worlds in which the imagination of the producer and the contemplator of the visual text.

the conclusions: 1- the artistic achievement in the currents of modernity is linked to anything outside itself, which formed an integrated unit of the image and the idea itself at a certain moment, acquiring a tangible form.

2- the role of imagination in modern painting overcame the realistic form by disengaging from diagnosis, withdrawing formations to the technical space, and manipulating structural patterns to isolate the form from the effect outside.