"Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin (1594-1665), painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary. At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime. Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation.
2 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2022-01-11 14:58:36
对于可见性与可读性的关系问题,普桑的信提供了一种绝佳的阐释。“阅读”绘画意味着将其中的离散元素纳入意指结构中加以衔接,问题是何以如此?普桑答道:是画框充当了可见性和可读性的符号学条件。尽管绘画不像索绪尔所说的语言那样具有一套意指单位系统,但它却可以通过本身无意指性的画框创造一种使意指结构成为可能的语法环境(见夏皮罗)。画框是一种使观看与沉思、aspect与prospect、可见性与可读性结合起来的... 对于可见性与可读性的关系问题,普桑的信提供了一种绝佳的阐释。“阅读”绘画意味着将其中的离散元素纳入意指结构中加以衔接,问题是何以如此?普桑答道:是画框充当了可见性和可读性的符号学条件。尽管绘画不像索绪尔所说的语言那样具有一套意指单位系统,但它却可以通过本身无意指性的画框创造一种使意指结构成为可能的语法环境(见夏皮罗)。画框是一种使观看与沉思、aspect与prospect、可见性与可读性结合起来的视觉装置,它将绘画规定为封闭的可见系统(见德里达),引诱凝视–沉思(contemplation)活动的自觉沉溺,从而使观者–读者在自恋欲望的短暂满足中获得快乐。 (展开)
2 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2022-01-11 14:58:36
对于可见性与可读性的关系问题,普桑的信提供了一种绝佳的阐释。“阅读”绘画意味着将其中的离散元素纳入意指结构中加以衔接,问题是何以如此?普桑答道:是画框充当了可见性和可读性的符号学条件。尽管绘画不像索绪尔所说的语言那样具有一套意指单位系统,但它却可以通过本身无意指性的画框创造一种使意指结构成为可能的语法环境(见夏皮罗)。画框是一种使观看与沉思、aspect与prospect、可见性与可读性结合起来的... 对于可见性与可读性的关系问题,普桑的信提供了一种绝佳的阐释。“阅读”绘画意味着将其中的离散元素纳入意指结构中加以衔接,问题是何以如此?普桑答道:是画框充当了可见性和可读性的符号学条件。尽管绘画不像索绪尔所说的语言那样具有一套意指单位系统,但它却可以通过本身无意指性的画框创造一种使意指结构成为可能的语法环境(见夏皮罗)。画框是一种使观看与沉思、aspect与prospect、可见性与可读性结合起来的视觉装置,它将绘画规定为封闭的可见系统(见德里达),引诱凝视–沉思(contemplation)活动的自觉沉溺,从而使观者–读者在自恋欲望的短暂满足中获得快乐。 (展开)