The Image of the Other: Blacks, Jews, Muslims, and Gypsies in Modern Western Art.
Louvre Museum| N° d'inventaire | 18693 |
| Format | 14 x 21 cm |
| Détails | 77p., color illustrations, paperback. |
| Publication | Paris, 2014 |
| Etat | Nine |
| ISBN | 9782754107686 |
Approaching the Encounter as it presents itself in the field of the visible is not an easy task, because the Other does not willingly expose himself to the gaze of the Same. Jews, Bohemians, Blacks, Muslims: the four figures of otherness that are the subject of this study bear witness to this. Faced with its movements of withdrawal and its evasions, it was necessary, in order to be able to represent it, to "un-cover the Other, to construct it and sometimes to invent it. Questioning the image of otherness at the time when, from the Renaissance onwards, the Western visual canon was established, based primarily on identity, itself considered the keystone of representation, implies reconsidering the fundamental data of this canon: perspective, pictorial narrative, composition, cult of the proportions of the human body, of beauty, of chromatic harmony and of light. This is true of Titian, as it is of Dürer, Carpaccio, Caravaggio, Rubens, and so many others. This approach is all the more relevant today, given that, following the discovery of America in 1492, there was an unprecedented explosion of the issue of otherness. The questioning that runs through this series of lectures at the Louvre and the book that is its extension does not deal directly with the Other, but with the way we look at him.
Approaching the Encounter as it presents itself in the field of the visible is not an easy task, because the Other does not willingly expose himself to the gaze of the Same. Jews, Bohemians, Blacks, Muslims: the four figures of otherness that are the subject of this study bear witness to this. Faced with its movements of withdrawal and its evasions, it was necessary, in order to be able to represent it, to "un-cover the Other, to construct it and sometimes to invent it. Questioning the image of otherness at the time when, from the Renaissance onwards, the Western visual canon was established, based primarily on identity, itself considered the keystone of representation, implies reconsidering the fundamental data of this canon: perspective, pictorial narrative, composition, cult of the proportions of the human body, of beauty, of chromatic harmony and of light. This is true of Titian, as it is of Dürer, Carpaccio, Caravaggio, Rubens, and so many others. This approach is all the more relevant today, given that, following the discovery of America in 1492, there was an unprecedented explosion of the issue of otherness. The questioning that runs through this series of lectures at the Louvre and the book that is its extension does not deal directly with the Other, but with the way we look at him.