Daniel Arasse and the pleasures of painting.
Sorbonne editions| N° d'inventaire | 25777 |
| Format | 16 x 24 |
| Détails | 304 p., color illustrations, paperback. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9791035107956 |
Pleasure is the subject of this book. The pleasure of approaching the painting to see its details, traces of the painter's desire in his work, pleasures and desires to see more clearly. "How can we look at paintings to see the painting?" This question is at the heart of Daniel Arasse's practice of art history.
It turns out that Arasse never wrote a purely theoretical work. He did not like, he said, pure theory. Now a book, Art in his works. Theory of art, history of works , was in preparation at the time of his death, and intended to fill this gap. A sketch of it remains: Charcot's disease, diagnosed in December 2001, prevented the historian from publishing this treatise. His method—if there is a method—has therefore never been explained. It is true that, relevant in terms of interpretation as well as iconography, Arassian art history shakes the foundations of the discipline, mobilizing new tools that provoke a reversal of interpretation. A Copernican revolution in the history of art is at work in his texts. And it is the originality and the stakes of these pleasures of painting that this book highlights.
- Preface by Philippe Morel - Postface by Yves Hersant
Pleasure is the subject of this book. The pleasure of approaching the painting to see its details, traces of the painter's desire in his work, pleasures and desires to see more clearly. "How can we look at paintings to see the painting?" This question is at the heart of Daniel Arasse's practice of art history.
It turns out that Arasse never wrote a purely theoretical work. He did not like, he said, pure theory. Now a book, Art in his works. Theory of art, history of works , was in preparation at the time of his death, and intended to fill this gap. A sketch of it remains: Charcot's disease, diagnosed in December 2001, prevented the historian from publishing this treatise. His method—if there is a method—has therefore never been explained. It is true that, relevant in terms of interpretation as well as iconography, Arassian art history shakes the foundations of the discipline, mobilizing new tools that provoke a reversal of interpretation. A Copernican revolution in the history of art is at work in his texts. And it is the originality and the stakes of these pleasures of painting that this book highlights.
- Preface by Philippe Morel - Postface by Yves Hersant