ユベール・ダミッシュ『雲の理論―絵画史への試論』(英訳)<br>A Theory Of/Cloud/ : Toward a History of Painting (Cultural Memory in the Present)

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ユベール・ダミッシュ『雲の理論―絵画史への試論』(英訳)
A Theory Of/Cloud/ : Toward a History of Painting (Cultural Memory in the Present)

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  • 提携先の海外書籍取次会社に在庫がございます。通常約2週間で発送いたします。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合が若干ございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
    3. 美品のご指定は承りかねます。
  • 製本 Paperback:紙装版/ペーパーバック版/ページ数 354 p., 20 illus.
  • 言語 ENG,ENG
  • 商品コード 9780804734400
  • DDC分類 759.94

基本説明

邦訳:2008年9月、法政大学出版会。
Translated by Janet Lloyd. First published in 1972.

Full Description


This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.

Contents

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