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A Theory of /Cloud/
This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The authors basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud. On a literal level, this could be represented by the absence of the sky, as in Brunelleschis legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. In...
The Origin of Perspective
The second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness via Jacques Lacan's definition of the "tableau" as "a configuration in which the subject as such gets its bearings.".
Skyline
One of today's foremost art historians and critics presents a strikingly original view of architecture and the city through the twin lenses of cultural theory and psychoanalysis. In engaging a subject that has been of continuing interest to Damisch over the last 30 years, he develops a unique way of looking at the city and its architecture, the landscape and its spaces.
The Judgment of Paris
Drawing on Freudian theories of sexuality and Kant's conception of the beautiful, French art historian Hubert Damisch considers artists as diverse as Raphael, Picasso, Watteau, and Manet to demonstrate that beauty has always been connected to ideas of sexual difference and pleasure. Damisch's tale begins with the judgment of Paris, in which Paris awards Venus the golden apple and thus forever links beauty with desire. The casting of this decision as a mistake—in which desire is rewarded over wisdom and strength—is then linked to theories of the unconscious and psychological drives. In his quest for an exposition of the beautiful in its relation to visual pleasure, Damisch employs what he terms “analytic iconology,” following the revisions and repetitions of the motif of the judgment through art history, philosophy, aesthetics, and psychoanalysis. This translation brings an important figure of the French art historical tradition to Anglo-American audiences.
Noah's Ark
From Noah's Ark to Diller + Scofidio's “Blur” Building, a distinguished art historian maps new ways to think about architecture's origin and development. Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-Fra...
A Childhood Memory by Piero della Francesca
Piero della Francesca's Madonna del Parto, a celebrated fifteenth-century Tuscan fresco in which the Virgin gestures to her partially open dress and her pregnant womb, is highly unusual in its iconography. Hubert Damisch undertakes an anthropological and historical analysis of an artwork he constructs as a childhood dream of one of humanity's oldest preoccupations, the mysteries of our origins, of our conception and birth. At once parodying and paying homage to Freud's seminal essay on Leonardo da Vinci, Damisch uses Piero's enigmatic painting to narrate our archaic memories. He shows that we must return to Freud because work in psychoanalysis and art has not solved the problem of what is being analyzed: in the triangle of author, work, and audience, where is the psychoanalytic component located?
Painting as Model
Informed by both structuralism and poststructuralism, these essays by art critic and historian Yve Alain Bois seek to redefine the status of theory in modernist critical discourse. Warning against the uncritical adoption of theoretical fashions and equally against the a priori rejection of all theory, Bois argues that theory is best employed in response to the specific demands of a critical problem. The essays lucidly demonstrate the uses of various theoretical approaches in conjunction with close reading of both paintings and texts.
Hubert Damisch
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L'origine de la perspective
La perspective, chose du passé ? A l'opposé d'un récit linéaire et évolutionniste qui déciderait de la naissance et de la mort des formes de représentation en fonction de leur adaptation supposée aux besoins du moment, la 'relève' dont la perspective des peintres a fait l'objet dans la géométrie, aussi bien que les aventures qu'elle a connues dans le champ même de l'art, suggèrent une manière d'histoire par principe plurielle, où se recoupent différents types de discours. Du dispositif de Brunelleschi aux 'perspectives urbinates' et aux Ménines de Vélasquez, dans ce champ imaginaire autant que symbolique dans lequel la science rencontre le théâtre et où la psychanalyse en appelle à la peinture, il s'agit de comprendre un peu mieux ce que 'penser' veut dire.
