The strabismus of the painting. Essay on the divergent views of portraits.
DELBARD Nathalie.

The strabismus of the painting. Essay on the divergent views of portraits.

of the publisher's incidence
Regular price €25,00 €0,00 Unit price per
N° d'inventaire 31372
Format 21 x 26
Détails 136 p., 60 color reproductions, bound, publisher's cardboard
Publication Cherbourg-en-Cotentin, 2024
Etat Nine
ISBN 9782918193760

Starting from a particular aesthetic experience, namely the strange sensation when faced with certain painted portraits of being looked at without being so (one eye addressed to the spectator, the other not), the author proposes here to consider the motif of ocular divergence as a theoretical object in itself, capable of establishing a counter-history of works of art since the establishment of the autonomous portrait in the 15th century in Europe.

Beyond the singularity of these meticulously studied paintings, which in fact escape the traditional conventions of the directed or absorbed gazes of painted figures, it is a question of establishing how the strabismus of the portrait is in reality that of the entire representation, causing its supposed unity to waver at the very moment of the establishment of the perspective system, to the benefit of a modernity which will find its accomplishment only

Starting from a particular aesthetic experience, namely the strange sensation when faced with certain painted portraits of being looked at without being so (one eye addressed to the spectator, the other not), the author proposes here to consider the motif of ocular divergence as a theoretical object in itself, capable of establishing a counter-history of works of art since the establishment of the autonomous portrait in the 15th century in Europe.

Beyond the singularity of these meticulously studied paintings, which in fact escape the traditional conventions of the directed or absorbed gazes of painted figures, it is a question of establishing how the strabismus of the portrait is in reality that of the entire representation, causing its supposed unity to waver at the very moment of the establishment of the perspective system, to the benefit of a modernity which will find its accomplishment only