Verwandte Artikel zu Sublime Poussin (Meridian: Crossing Aesthetics)
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Inhaltsangabe
"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.
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Über die Autorin bzw. den Autor
Charlotte y Peter Fiell son dos autoridades en historia, teoría y crítica del diseño y han escrito más de sesenta libros sobre la materia, muchos de los cuales se han convertido en éxitos de ventas. También han impartido conferencias y cursos como profesores invitados, han comisariado exposiciones y asesorado a fabricantes, museos, salas de subastas y grandes coleccionistas privados de todo el mundo. Los Fiell han escrito numerosos libros para TASCHEN, entre los que se incluyen 1000 Chairs, Diseño del siglo XX, El diseño industrial de la A a la Z, Scandinavian Design y Diseño del siglo XXI.
Von der hinteren Coverseite
[Marin s] mandarin prose, as foreign to our age of mass culture as Poussin s paintings, seems as self-sufficient as the strangely in accessible art it so beautifully describes. Common Knowledge
Aus dem Klappentext
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 Marin s inquiry into Poussin s art are the theory and practice of reading paintings. Rather than explicate Poussin s 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? Marin s horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painter s career or his relationship with his artistic predecessors. For example, he positions several of Poussin s 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 Poussin s work, the presence of ruins in the paintings, Poussin s 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.
At the center of Marin s inquiry into Poussin s art are the theory and practice of reading paintings. Rather than explicate Poussin s 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? Marin s horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painter s career or his relationship with his artistic predecessors. For example, he positions several of Poussin s 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 Poussin s work, the presence of ruins in the paintings, Poussin s 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.
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