The cabinet of curiosities. A constant temptation.
Art Page| N° d'inventaire | 23430 |
| Format | 12 x 24 |
| Détails | 96 p., paperback. |
| Publication | Tesserete, 2018 |
| Etat | Nine |
| ISBN | 9788894904109 |
The reality of the cabinet of curiosities is a constant throughout history. Anticipated by Roman Antiquity and the Middle Ages, it took on extremely varied forms at the beginning of the Renaissance. It was then the work of princes, scholars, or religious congregations. It brought together, under the guise of a theatrical encyclopedia, the various domains of creation, whether they were the work of nature itself or the action of man.
There we encounter everything that can surprise us, we face the most convincing mirror of the world. This dimension persists until the end of the classical era, the principles change, we thus move from bric-a-brac to a propensity for classification that anticipates museums. In the modern era, the taste for accumulation or the confrontation of diversity persists through artists and writers. Apollinaire and Breton provide wonderful examples.
This devotion to difference, which has become proximity, fascinates and now invades the entire house, the collector rivaling the museum. Principle of the mind and way of being, the cabinet of curiosities tends to make the unexpected an intimate fact. It is in this sense that it is a bottomless reserve of passion. Its permanence and its topicality are manifestations of its strength, of its need for synthesis which allow man to make his own the multiplicity of the world.
The reality of the cabinet of curiosities is a constant throughout history. Anticipated by Roman Antiquity and the Middle Ages, it took on extremely varied forms at the beginning of the Renaissance. It was then the work of princes, scholars, or religious congregations. It brought together, under the guise of a theatrical encyclopedia, the various domains of creation, whether they were the work of nature itself or the action of man.
There we encounter everything that can surprise us, we face the most convincing mirror of the world. This dimension persists until the end of the classical era, the principles change, we thus move from bric-a-brac to a propensity for classification that anticipates museums. In the modern era, the taste for accumulation or the confrontation of diversity persists through artists and writers. Apollinaire and Breton provide wonderful examples.
This devotion to difference, which has become proximity, fascinates and now invades the entire house, the collector rivaling the museum. Principle of the mind and way of being, the cabinet of curiosities tends to make the unexpected an intimate fact. It is in this sense that it is a bottomless reserve of passion. Its permanence and its topicality are manifestations of its strength, of its need for synthesis which allow man to make his own the multiplicity of the world.