Painting and the cry, from Botticelli to Francis Bacon.
THE CONTEMPORARY WORKSHOP.| N° d'inventaire | 25130 |
| Format | 160 x 200 mm |
| Détails | 184 p., Paperback. |
| Publication | PARIS, 2021 |
| Etat | NINE |
| ISBN | 9782850350603 |
This book, in nine chapters, covers some twenty major paintings of European painting, each shedding light on the others, from the 15th to the 20th century. From Pollaiolo to Bacon, via Bottecelli, Raphael, Caravaggio, and Mason's sculpture, the chronological development elucidates at its center the thought of Winckelmann and Lessing, the explicit prohibition of the representation of the scream. This leads to a conjecture on the origin of painting, the truth of which, little by little, is stated as follows: The origin of painting lies in violence, the image comes from a scream.
An unheard-of story then. Initially rare, occasionally depicted by daring masters, the scream in painting so openly reveals the sacrificial foundation of all representation that its theoretical proscription during the Age of Enlightenment did not prevent its elective adoption by many "modern" painters. Now this exhibition of the repressed, where the imaging power of violence and the critical power of the scream are shown together, justifies painting as self-consciousness.
This book, in nine chapters, covers some twenty major paintings of European painting, each shedding light on the others, from the 15th to the 20th century. From Pollaiolo to Bacon, via Bottecelli, Raphael, Caravaggio, and Mason's sculpture, the chronological development elucidates at its center the thought of Winckelmann and Lessing, the explicit prohibition of the representation of the scream. This leads to a conjecture on the origin of painting, the truth of which, little by little, is stated as follows: The origin of painting lies in violence, the image comes from a scream.
An unheard-of story then. Initially rare, occasionally depicted by daring masters, the scream in painting so openly reveals the sacrificial foundation of all representation that its theoretical proscription during the Age of Enlightenment did not prevent its elective adoption by many "modern" painters. Now this exhibition of the repressed, where the imaging power of violence and the critical power of the scream are shown together, justifies painting as self-consciousness.