From Bellini to Titian: Texture, Form, Color in Venetian Art.
Macula| N° d'inventaire | 26482 |
| Format | 19.5 x 25.5 |
| Détails | 304 p., illustrated, paperback. |
| Publication | Paris, 1993 |
| Etat | Nine |
| ISBN | 9782865890422 |
From Rubens to Velázquez, from Poussin to Delacroix (through Veronese), European genius drew its substance from 16th-century Venetian art. A certain relationship to the object - and therefore to the concept - was undone in these decisive years when it was the notion of figure that oscillated: in Giorgione, in Titian, the progressive blurring of contours canceled the opposition of form and content and created a surface without hierarchy, isotropic. The culmination of this manner is the Marsyas - magma, painting informed in the sense of Georges Bataille, a surface where the contamination of painting and flesh is played out in a twilight register.
Throughout his book, Johannes Wilde analyzes this moment. He identifies it in the works . He is not one of those who are content to study photographs. As an heir to the Viennese school, he seeks meaning in the material parts of the painter - texture, form, color, framing -, studying in particular the painting in its architectural context and showing how, in Venice, the exhibition space is an essential operator.
Johannes Wilde (1891-1970), of Hungarian origin, was a member of Lukàcs's circle, then a student of Max Dvorak in Vienna, and a reader of Hildebrand and Wölfflin. An assistant for fifteen years at the Kunsthistorisches Museum in the Austrian capital, he went into exile in 1938 and taught for ten years at the famous Courtauld Institute in London. His two specialties were Venetian painting and Michelangelo. He devoted two books and numerous articles to them.
From Rubens to Velázquez, from Poussin to Delacroix (through Veronese), European genius drew its substance from 16th-century Venetian art. A certain relationship to the object - and therefore to the concept - was undone in these decisive years when it was the notion of figure that oscillated: in Giorgione, in Titian, the progressive blurring of contours canceled the opposition of form and content and created a surface without hierarchy, isotropic. The culmination of this manner is the Marsyas - magma, painting informed in the sense of Georges Bataille, a surface where the contamination of painting and flesh is played out in a twilight register.
Throughout his book, Johannes Wilde analyzes this moment. He identifies it in the works . He is not one of those who are content to study photographs. As an heir to the Viennese school, he seeks meaning in the material parts of the painter - texture, form, color, framing -, studying in particular the painting in its architectural context and showing how, in Venice, the exhibition space is an essential operator.
Johannes Wilde (1891-1970), of Hungarian origin, was a member of Lukàcs's circle, then a student of Max Dvorak in Vienna, and a reader of Hildebrand and Wölfflin. An assistant for fifteen years at the Kunsthistorisches Museum in the Austrian capital, he went into exile in 1938 and taught for ten years at the famous Courtauld Institute in London. His two specialties were Venetian painting and Michelangelo. He devoted two books and numerous articles to them.