Pieter de Hooch, a painter with the infinitive.
The contemporary workshop| N° d'inventaire | 25758 |
| Format | 11.5 x 16 |
| Détails | 160 p., paperback. |
| Publication | Strasbourg, 2022 |
| Etat | Nine |
| ISBN | 9782850350771 |
"Studiolo" Collection.
In his time, Pieter de Hooch was repelled by the dominant visual regime, the moralizing emblems and especially the official art of the province of Holland, a copy of Roman antiquity, which, moreover, ignored him and his great colleagues.
We must therefore be sensitive to the present of art, which is neither entirely – the paintings just varnished, the ink barely dry – the historical present grasped retrospectively, nor truly the ideal eternity prized by a certain philosophy, but another present, that of painting, not of the painted, the infinitive part of all painting, of the present infinitive, which we try to feel with the means at hand, those of our time.
How can one love Pieter de Hooch without being on the lookout for his ever-persistent motifs: painting absent gazes lost in the vague, habits and people in domestic interiors that their eyes disorient, producing a third space between that of the canvas and that of the spectator, representing a momentary duration in indecisive yet familiar gestures, inventing the backyards of Delft as a pictorial fact, etc. All this under the sign of a god lost in the Calvinist reign, Hermes, an angel inspiring the search for these famous passages through frames, doors, porches, windows and holes, increasingly narrow in the distance.
"Studiolo" Collection.
In his time, Pieter de Hooch was repelled by the dominant visual regime, the moralizing emblems and especially the official art of the province of Holland, a copy of Roman antiquity, which, moreover, ignored him and his great colleagues.
We must therefore be sensitive to the present of art, which is neither entirely – the paintings just varnished, the ink barely dry – the historical present grasped retrospectively, nor truly the ideal eternity prized by a certain philosophy, but another present, that of painting, not of the painted, the infinitive part of all painting, of the present infinitive, which we try to feel with the means at hand, those of our time.
How can one love Pieter de Hooch without being on the lookout for his ever-persistent motifs: painting absent gazes lost in the vague, habits and people in domestic interiors that their eyes disorient, producing a third space between that of the canvas and that of the spectator, representing a momentary duration in indecisive yet familiar gestures, inventing the backyards of Delft as a pictorial fact, etc. All this under the sign of a god lost in the Calvinist reign, Hermes, an angel inspiring the search for these famous passages through frames, doors, porches, windows and holes, increasingly narrow in the distance.