Machine-Aquarium. Claude Monet and submerged painting.
MétisPresses| N° d'inventaire | 25002 |
| Format | 17 x 21 |
| Détails | 224 p., numerous color and black and white illustrations, paperback. |
| Publication | Geneva, 2021 |
| Etat | Nine |
| ISBN | 9782940563951 |
It is a strange liquid diorama that envelops the visitor in Water Lilies of the Orangerie, confronted with this water of pigments like the glass panel of an aquarium. The aquarium is this machine for seeing differently, where things move as if weightless and floating, and which immediately inspires painting and the nascent cinematography with the novelty of its spectacle.
Perceived by artists, philosophers and writers of the late 19th century century as a "mental" device opening onto the depths of the soul, rubbing shoulders with what we are just beginning to call the unconscious, the aquarium is a real key that allows us to rethink all of Claude Monet's late work.
Like Proust or Bergson, the painter of Cathedrals and Water Lilies engaged in much more intimate, much more complex relationships than has been said, with dreams, the interregnum, memory and duration.
It is a strange liquid diorama that envelops the visitor in Water Lilies of the Orangerie, confronted with this water of pigments like the glass panel of an aquarium. The aquarium is this machine for seeing differently, where things move as if weightless and floating, and which immediately inspires painting and the nascent cinematography with the novelty of its spectacle.
Perceived by artists, philosophers and writers of the late 19th century century as a "mental" device opening onto the depths of the soul, rubbing shoulders with what we are just beginning to call the unconscious, the aquarium is a real key that allows us to rethink all of Claude Monet's late work.
Like Proust or Bergson, the painter of Cathedrals and Water Lilies engaged in much more intimate, much more complex relationships than has been said, with dreams, the interregnum, memory and duration.