Disclosure of Oneself and the Other (BT123/124) (2025) 绘画 由 Noël Van Hoof
“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色(超过100年),其质量,深度和细微差别超过了在Argentic纸上的经典照片打印。

光面漆
纤维纸除了具有非凡的厚度外,还由不含酸的α-纤维素基底组成,并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色,不泛黄,特别设计用于抵抗老化。它具有出色的分辨率,呈现深沉的色彩,因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。

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艺术图片银行-
原创艺术品 (One Of A Kind)
绘画,
水彩
在纸板上
-
外形尺寸
19.7x15.8 in
单独工作的尺寸,不带框架: 高度 14.2in, 宽度 11.8in - 艺术品状况 艺术品完好无损
- 是否含画框 这件作品是诬陷 (框架+玻璃下)
- 分类 画作 低于US$1,000 插图 奇妙
Being-with is such that the disclosedness of the Dasein-with of Others belongs to it; this means that because Dasein's Being is Being-with, its understanding of Being already implies the understanding of Others. This understanding, like an understanding, is not an acquaintance derived from knowledge about them, but a primordially existential kind of Being, which, more than anything else, makes such knowledge and acquaintance possible. Knowing oneself [Sichkennen] is grounded in Being-with, which understands primordially. It operates proximally in accordance with the kind of Being which is closest to us – Being-in-the-world as Being-with; and it does so by an acquaintance with that which Dasein, along with the Others, comes across in its environmental circumspection and concerns itself with – an acquaintance in which Dasein understands. Solicitous concern is understood in terms of what we are concerned with, and along with our understanding of it. Thus in concernful solicitude the Other is proximally disclosed.
But because solicitude dwells proximally and for the most part in the deficient or at least the Indifferent modes (in the indifference of passing one another by), the kind of knowing-oneself which is essential and closest, demands that one become acquainted with oneself. And when, indeed, one's knowing-oneself gets lost in such ways as aloofness, hiding oneself away, or putting on a disguise, Being-with-one-another must follow special routes of its own in order to come close to Others, or even to 'see through them' [“hinter sie” zu kommen].
But just as opening oneself up [Sich offenbaren] or closing oneself off is grounded in one's having Being-with-one-another as one's kind of Being at the time, and indeed is nothing else but this, even the explicit disclosure of the Others in solicitude grows only out of one's primarily Being with him in each case. Such a disclosure of the Other (which is indeed thematic, but not in the manner of theoretical psychology) easily becomes the phenomenon which proximally comes to view when one considers the theoretical problematic of understanding the 'psychical life of Others' [“fremden Seelenlebens”]. In this phenomenally 'proximal' manner it thus presents a way of Being with one another understandingly; but at the same time it gets taken as that which, primordially and 'in the beginning', constitutes Being towards Others and makes it possible at all. This phenomenon, which is none too happily designated as 'empathy' [“Einfühlung”], is then supposed, as it were, to provide the first ontological bridge from one's own subject, which is given proximally as alone, to the other subject, which is proximally quite closed off.
(Translation by John Macquarrie and Edward Robinson)
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Most of my paintings are inspired by books or music, they are a tribute to a certain author, philosopher, composer or artist and his/her work. Reproductions of my works are for sale by Artmajeur. People who are interested in the original work can send me a message. The ecoline paintings are framed (light oak or black aluminum), they have a passe-partout and a plate of glass on the front. Oil paintings have a wire on the back so they can be hung.