Abstract: Spiritual strategies constructing on the psychological principle of unconscious integration, corresponding to energetic imagination, broderie diamant are criticized. Carl Jung and Marie-Louise von Franz repudiated the spiritual strategies related to the ‘via negativa’ and diamond painting spoke mostly of the mixing of the unconscious. The notion that dreams are to be considered as certificates of advancement on the spiritual path, can't be discovered within the writings of Jung and von Franz.

The divine, whether or not it's considered as unconscious archetype or divine spirit, is thought to be a benefaction that's grasped and built-in with character. Thus, the worshipper’s earthly life is bequeathed to the divine, corresponding to pagan worshippers’ offering of "spiritual food". Neo-Paganism and New Age, typically belong to an integrative paradigm according to which the unconscious, or the divine, is skilled and assimilated. His contemporary in Rome, and an equally important affect on neoclassicism, was Claude Lorrain (1600-82), whose Italianate landscapes - full of biblical and mythological narrative - impressed a variety of successors, including JMW Turner.

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Moreover, regardless of Mengs's obvious agreement with Winckelmann's concept of Greek aesthetics, the fashion he used in most of his church and palace ceilings was more akin to existing Italian Baroque traditions than to historical Greece. They included the Frenchman Joseph-Marie Vien (1716-1809) (whose pupils included J-L David), the Italian portraitist Pompeo Girolamo Batoni (1708-87), the Swiss artist Angelica Kauffmann (1741-1807), and the Scotsman Gavin Hamilton (1723-98), all of whom were energetic within the 1750s, 60s, and 70s.

And while their compositions sometimes included poses and figurative arrangements from Greek sculpture and vase paintings, they had been still strongly influenced by the preceding rococo. Other neoclassical painters included the expatriate American historical past painter Benjamin West (1738-1820), as effectively as the French artists Jean-Germain Drouais (1763-88) and Anne-Louis Girodet de Roucy-Trioson (1767-1824), both pupils of J-L David.

If a few of these components had already been seen in works by British and American painters like Hamilton and West, the figurative confrontations in J-L David's pictures are way more dramatic: not only are they starker and in clearer profile on the identical airplane, and set out in opposition to a more monumental background, but additionally there is nothing to be seen of the distinctive options of Baroque Diamond Painting Canada, akin to diagonal compositional movements, large teams of figures, and flamboyant drapery.

The type of Kauffmann's fairly, sentimental paintings, as an example, is barely distinguishable from a lot rococo artwork. Thus David's historical compositions just like the Oath of the Horatii (1784, Louvre, Paris) signify a powerful sense of gravitas, as well as a certain rhetorical quality of posture and gesture, together with patterns of drapery that owe a lot to Greek sculpture.