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مانه و ابژهی نقاشی
مانه در تاریخ هنر، در تاریخ نقاشی قرن نوزدهم، همواره بهعنوان کسی ظاهر میشود که تکنیکها و اسلوبهای بازنمایی تصویری را چنان تغییر میدهد که راه را برای جنبش امپرسیونیستی که طلایهدار تاریخ عرصهی هنر تقریباً در تمامی نیمهی دوم قرن نوزدهم است هموار میکند. راست است که مانه واقعاً سردمدار امپرسیونیسم است، و درواقع او است که امپرسیونیسم را ممکن میسازد؛ اما این جنبه از مانه مد نظر من نیست. به نظرم میرسد مانه عملاً کار دیگری میکند، که شاید فراتر از صرفِ ممکن ساختنِ امپرسیونیسم باشد. به نظر من، حتی ورای امپرسیونیسم، مانه کلِ نقاشی «پس» از امپرسیونیسم را ممکن میسازد، تمام نقاشی قرن بیستم، تمام نقاشیای که، درواقع، هنر معاصر از آن سر بر آورده است. ایجاد این گسست عمیق یا این گسست در عمق از سوی مانه، بیشک از ایجاد سلسله تغییراتی که امپرسیونیسم را امکانپذیر ساخت کمی دشوارتر است. همانطور که میدانید، آن جنبههایی از نقاشی مانه که امپرسیونیسم را ممکن ساخت نسبتاً مشهورند: تکنیکهای تازهی رنگ، به کار بردن رنگهای اگر نه ناب دستکم نسبتاً ناب، استفاده از فرمهای معینی از نورپردازی و روشنایی که در نقاشی پیشین آنقدرها رسمیت نداشت، و غیره. از طرف دیگر، تصور میکنم به رسمیت شناختن و ایجاد اصلاحاتی که نقاشی آینده را، ورای امپرسیونیسم، یعنی بر فراز امپرسیونیسم، امکانپذیر میکند، دشوارتر است. این اصلاحات را میشود در یک کلام خلاصه و مشخص کرد: به نظرم مانه درواقع کسی است که برای اولین بار در هنر غرب، دستکم از زمان رنسانس، دستکم از کواتروچنتو، به خودش اجازه میدهد در نقاشیهایش، حتی در آنچه نقاشیها بازنمایی میکنند، از ویژگیهای مادی فضایی که رویش نقاشی میکشد استفاده کند یا با آنها بازی کند. منظورم را واضحتر بگویم: از قرن پانزدهم، از کواتروچنتو، سنت نقاشی غربی بر آن بود که تماشاگر را وادارد فراموش کند، از این واقعیت طفره برود و لاپوشانی کند که نقاشی بر قطعهی معینی از فضا ثبت میشود یا نقش میبندد که میتواند دیوار باشد؛ مثلاً در مورد فِرِسکو، یا قاب چوبی باشد یا همین بوم باشد یا درنهایت یک تکه کاغذ باشد؛ بنابراین، میخواستند تماشاگر را وادارند فراموش کند که نقاشی بر این سطح کموبیش مستطیلی و دوبُعدی قرار میگیرد، و میخواستند بهجای این فضای مادی که نقاشی بر آن قرار گرفته یک فضای بازنماییشده بگذارند که بهنوعی، فضایی را که بر آن نقاشی شده انکار میکند؛ بنابراین، نقاشی از کواتروچنتو به بعد در پی آن بوده که سه بُعد را بازنمایی کند، حتی اگر بر سطحی دوبُعدی قرار گرفته باشد. این نقاشیای است که نه تنها میخواهد سه بُعد را بازنمایی کند، بلکه، به هر طریقِ ممکن، از خطوط اُریب و مارپیچ بهره میبرد تا این واقعیت را پنهان و نفی کند که نقاشی همچنان درون مربع یا مستطیلی از خطوط صاف که در زوایای قائمه قطع شدهاند نقش میبندد.
98 pages
First published April 30, 1999
13 people are currently reading
479 people want to read
About the author
Michel Foucault
763 books6,484 followersPaul-Michel Foucault was a French philosopher, historian of ideas, writer, political activist, and literary critic. Foucault's theories primarily address the relationships between power and knowledge, and how they are used as a form of social control through societal institutions. Though often cited as a structuralist and postmodernist, Foucault rejected these labels. His thought has influenced academics, especially those working in communication studies, anthropology, psychology, sociology, criminology, cultural studies, literary theory, feminism, Marxism and critical theory.
Born in Poitiers, France, into an upper-middle-class family, Foucault was educated at the Lycée Henri-IV, at the École Normale Supérieure, where he developed an interest in philosophy and came under the influence of his tutors Jean Hyppolite and Louis Althusser, and at the University of Paris (Sorbonne), where he earned degrees in philosophy and psychology. After several years as a cultural diplomat abroad, he returned to France and published his first major book, The History of Madness (1961). After obtaining work between 1960 and 1966 at the University of Clermont-Ferrand, he produced The Birth of the Clinic (1963) and The Order of Things (1966), publications that displayed his increasing involvement with structuralism, from which he later distanced himself. These first three histories exemplified a historiographical technique Foucault was developing called "archaeology".
From 1966 to 1968, Foucault lectured at the University of Tunis before returning to France, where he became head of the philosophy department at the new experimental university of Paris VIII. Foucault subsequently published The Archaeology of Knowledge (1969). In 1970, Foucault was admitted to the Collège de France, a membership he retained until his death. He also became active in several left-wing groups involved in campaigns against racism and human rights abuses and for penal reform. Foucault later published Discipline and Punish (1975) and The History of Sexuality (1976), in which he developed archaeological and genealogical methods that emphasized the role that power plays in society.
Foucault died in Paris from complications of HIV/AIDS; he became the first public figure in France to die from complications of the disease. His partner Daniel Defert founded the AIDES charity in his memory.
Born in Poitiers, France, into an upper-middle-class family, Foucault was educated at the Lycée Henri-IV, at the École Normale Supérieure, where he developed an interest in philosophy and came under the influence of his tutors Jean Hyppolite and Louis Althusser, and at the University of Paris (Sorbonne), where he earned degrees in philosophy and psychology. After several years as a cultural diplomat abroad, he returned to France and published his first major book, The History of Madness (1961). After obtaining work between 1960 and 1966 at the University of Clermont-Ferrand, he produced The Birth of the Clinic (1963) and The Order of Things (1966), publications that displayed his increasing involvement with structuralism, from which he later distanced himself. These first three histories exemplified a historiographical technique Foucault was developing called "archaeology".
From 1966 to 1968, Foucault lectured at the University of Tunis before returning to France, where he became head of the philosophy department at the new experimental university of Paris VIII. Foucault subsequently published The Archaeology of Knowledge (1969). In 1970, Foucault was admitted to the Collège de France, a membership he retained until his death. He also became active in several left-wing groups involved in campaigns against racism and human rights abuses and for penal reform. Foucault later published Discipline and Punish (1975) and The History of Sexuality (1976), in which he developed archaeological and genealogical methods that emphasized the role that power plays in society.
Foucault died in Paris from complications of HIV/AIDS; he became the first public figure in France to die from complications of the disease. His partner Daniel Defert founded the AIDES charity in his memory.
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Displaying 1 - 28 of 28 reviews
October 9, 2022
یکی از مقالات فوکو در باب هنر. مقدمه و موخرههایی که بر کتاب پیوست شدهاند، همچنین میپردازند به نوشتهی فوکو در ابتدای الفاظ و اشیا دربارهی ولاسکز، و نیز به مگریت. همچنین ایدهی هتروپیای فوکو و بررسی چند مقالهی دیگر از فوکو دربارهی هنر، مقالاتی که تا جایی که من میدانم ترجمه نشدهاند.
November 20, 2013
Manet, to me, is sort of like wallpaper. I noticed it for a second and then moved on to the other room. But since reading this beautifully designed slim book by Michel Foucault, I now see him in a new light.
This is actually a lecture that Foucault did on Manet sometime in the early 1970's. Compared to his other writings, this is very much a book you can read on a good bus ride from Downtown L.A. to the beach. The thing I like about it is that Foucault is not an art reviewer or someone from that world. He's looking at the artwork from a totally different angle, which of course makes it an unique study on an artist's work.
Foucault focuses on maybe 10 paintings by Monet and comments on the space and lighting in the paintings. Reading the text I start noticing rather eccentric aspects of Monet's work that I didn't observed in the first place.
Foucault's observations are very focused, but done in a way where the reader or perhaps if you were in the audience at the time, start making your own connections to the work on hand. For me this makes excellent art criticism.
This is actually a lecture that Foucault did on Manet sometime in the early 1970's. Compared to his other writings, this is very much a book you can read on a good bus ride from Downtown L.A. to the beach. The thing I like about it is that Foucault is not an art reviewer or someone from that world. He's looking at the artwork from a totally different angle, which of course makes it an unique study on an artist's work.
Foucault focuses on maybe 10 paintings by Monet and comments on the space and lighting in the paintings. Reading the text I start noticing rather eccentric aspects of Monet's work that I didn't observed in the first place.
Foucault's observations are very focused, but done in a way where the reader or perhaps if you were in the audience at the time, start making your own connections to the work on hand. For me this makes excellent art criticism.
June 23, 2023
So this is a classic example of flogging a dead horse. A series of partly transcribed recordings put into a book and all beefed up with a translator’s introduction and a foreword to pad out the word count. Foucault doesn’t even start until page 27 and only goes onto page 79.
On the plus side, the presentation is nice and the quality of the printing of the paintings discussed is of a good standard too, but there really isn’t much of substance in here at all, and this would really only be for completists or obsessives of Foucault or Manet, who have exhausted all other avenues.
On the plus side, the presentation is nice and the quality of the printing of the paintings discussed is of a good standard too, but there really isn’t much of substance in here at all, and this would really only be for completists or obsessives of Foucault or Manet, who have exhausted all other avenues.
June 17, 2016
The Birth of the New
I have to admit that I am a philosophical illiterate, my eyes generally glazing over after a few paragraphs. But I was once an Assistant Professor of Art History, so I leaped at this beautifully presented transcription of a 1971 lecture by Foucault on Manet, in the hope of sampling some of the great philosopher's thought through the side door, as it were.
The good news is that Foucault's spoken style, as transcribed by the translator Matthew Barr with most of his repetitions intact, is much more approachable than what I have seen of his writing. It doesn't strike me as a major contribution to the study of either aesthetics or ideas, but it is a lecture I know I would have enjoyed in person. Unfortunately, it is not always clear what he would have been pointing at when he makes a specific reference, and though the book is pleasant to hold in the hand its reproductions are not always up to the task. In The Balcony (Paris, 1868–9), for instance, Foucault refers to the contrast between the black and white of the figures and the shocking green of the architectural surround, but the reproduction comes out as a uniform grey.
Manet is known (among other things) as a precursor of Impressionism. Foucault's interest, however, is in how Manet "made possible all the painting after Impressionism, all the painting from which contemporary art developed." He did this, Foucault suggests, by breaking free of the dominant convention of painting in force since the Renaissance, which treats the canvas as a window onto a pictorial space. Instead Manet emphasized the canvas as a flat, rectangular object, with which he plays games (Foucault even calls them malicious games) with the observer looking at it. Through brief but cogent analysis of thirteen of Manet's paintings, he emphasizes such things as the artist's compression of depth, his structural repetition of the verticals and horizontals of the picture frame, his non-traditional use of lighting, and his interest—for example in the Gare Saint Lazare (Washington, 1872–3)—in having people look simultaneously out of the picture and into it at the same time.
At times I was frustrated by the limited scope of Foucault's inquiry, as for example his blindness to the fact that even in Manet's flattest pictures, such as The Execution of Maximilian (Mannheim, 1868), the eye's expectation of depth engages in dynamic struggle with the artist's imposition of the plane. But I was fascinated by comparing his discussion of people looking at things outside the picture with Roberto Bolaño's deconstruction of a photo taken at almost the same date in his story "Labyrinth," included in his posthumous collection, The Secret of Evil. I was struck by his suggestion that the scandal caused by Manet's Olympia in 1863 is partly due to the fact that, unlike its Renaissance predecessors, the source of the lighting comes from our viewpoint, and therefore that it is we who call that shameless nudity into being. And I was as impressed as ever looking at The Bar at the Folies Bergère (London, 1881–2) by the artist's creation of a spectator who is both implied and denied in the picture.
This is not a book to read as an introduction to either Manet or Foucault. But for those who want to take a fresh look at the artist through the eyes of one of the great thinkers of his time—especially in this rare mode of functioning as an amateur without theories or jargon—this thin book offers a refreshing and thought-provoking sorbet.
I have to admit that I am a philosophical illiterate, my eyes generally glazing over after a few paragraphs. But I was once an Assistant Professor of Art History, so I leaped at this beautifully presented transcription of a 1971 lecture by Foucault on Manet, in the hope of sampling some of the great philosopher's thought through the side door, as it were.
The good news is that Foucault's spoken style, as transcribed by the translator Matthew Barr with most of his repetitions intact, is much more approachable than what I have seen of his writing. It doesn't strike me as a major contribution to the study of either aesthetics or ideas, but it is a lecture I know I would have enjoyed in person. Unfortunately, it is not always clear what he would have been pointing at when he makes a specific reference, and though the book is pleasant to hold in the hand its reproductions are not always up to the task. In The Balcony (Paris, 1868–9), for instance, Foucault refers to the contrast between the black and white of the figures and the shocking green of the architectural surround, but the reproduction comes out as a uniform grey.
Manet is known (among other things) as a precursor of Impressionism. Foucault's interest, however, is in how Manet "made possible all the painting after Impressionism, all the painting from which contemporary art developed." He did this, Foucault suggests, by breaking free of the dominant convention of painting in force since the Renaissance, which treats the canvas as a window onto a pictorial space. Instead Manet emphasized the canvas as a flat, rectangular object, with which he plays games (Foucault even calls them malicious games) with the observer looking at it. Through brief but cogent analysis of thirteen of Manet's paintings, he emphasizes such things as the artist's compression of depth, his structural repetition of the verticals and horizontals of the picture frame, his non-traditional use of lighting, and his interest—for example in the Gare Saint Lazare (Washington, 1872–3)—in having people look simultaneously out of the picture and into it at the same time.
At times I was frustrated by the limited scope of Foucault's inquiry, as for example his blindness to the fact that even in Manet's flattest pictures, such as The Execution of Maximilian (Mannheim, 1868), the eye's expectation of depth engages in dynamic struggle with the artist's imposition of the plane. But I was fascinated by comparing his discussion of people looking at things outside the picture with Roberto Bolaño's deconstruction of a photo taken at almost the same date in his story "Labyrinth," included in his posthumous collection, The Secret of Evil. I was struck by his suggestion that the scandal caused by Manet's Olympia in 1863 is partly due to the fact that, unlike its Renaissance predecessors, the source of the lighting comes from our viewpoint, and therefore that it is we who call that shameless nudity into being. And I was as impressed as ever looking at The Bar at the Folies Bergère (London, 1881–2) by the artist's creation of a spectator who is both implied and denied in the picture.
This is not a book to read as an introduction to either Manet or Foucault. But for those who want to take a fresh look at the artist through the eyes of one of the great thinkers of his time—especially in this rare mode of functioning as an amateur without theories or jargon—this thin book offers a refreshing and thought-provoking sorbet.
April 26, 2020
Si quiere saber de manera rápida, precisa y práctica el gran aporte que Édouard Manet hizo a la pintura, lea esta transcripción de una charla realizada por Michele Foucault a modo de ensayo.
September 30, 2023
на самом деле, есть некоторе вопросы к статьям учебных из коллоквиума по Фуко и Мане, мимо меня точно прошли пара статей, очень далеко ушедших от заявленной темы, но статьи в начале и в самом конце с разбором тунисского периода Фуко и тд были очень хороши.
ну и лекция Фуко в начале великолепна, не совсем согласна со всеми тезисами, но очень интересный разбор, и приятный язык.
ну и лекция Фуко в начале великолепна, не совсем согласна со всеми тезисами, но очень интересный разбор, и приятный язык.
August 29, 2024
creo que es la primera vez que verdaderamente disfruto y no sufro ni un poco leer a foucault, debe ser porque fue una conferencia pero no importa me siento Inteligente
May 4, 2021
POPSUGAR 2021: The book on your TBR list with the prettiest cover
January 17, 2017
¿No es incorrecto y extraño el título dado a la versión en ingles?
Deberia ser más bien "the object-painting" con el guión para diferenciar la practica de pintar objetos, es decir, de terminos como "gesture painting" por ejemplo, de la idea de un objeto apropiado de la realidad de la pintura.
Foucault desde su perspectiva de lego (layman), y es sorprendente la erudición que siempre anticipa esta aseveración en autores como Deleuze o Foucault, propone una simple hipotesis, Manet consiste en un punto singular de la historia de la pintura más que por presagiar ciertas tecnicas o tecnologías del color y la expresividad, es decir, hacer posible el impresionismo, por comenzar (aún si timidamente) la forma moderna del arte-objeto (mas que presagiar Pissarro o Cassat presagiaba a Duchamp).
¿Cómo?
Desde el Quattrocento uno de los movimientos fundamentales de toda pintura era la de desaparecer la materialidad misma que sustentaba el cuadro, hacer olvidar que al final todo estaba en una pared, un lienzo. Manet sería el primero en recobrar la materialidad misma del cuadro orientandola a cobrar su propia expresividad artística, esto no los demuestra Foucault en tres series con respecto a la planidad o superficie y tejido del material del cuadro, el uso de las fuentes de luz internas y externas y hasta le intución de un anverso del lienzo a traves de los representado en el cuadro.
Este es un texto algo simple, y carece de la profundidad e incisividad historiográfica que un lector de Foucualt espera (aunque por supuesto complementa otros trabajos y algunos de los temas importantes en toda la obra de Foucault, la representación, la mirada, etc). No es en absoluto un trabajo esencial sino para aquellos profundamente interesados en Manet o aquellos que buscan embutirse todo el corpus foucaultiano.
Deberia ser más bien "the object-painting" con el guión para diferenciar la practica de pintar objetos, es decir, de terminos como "gesture painting" por ejemplo, de la idea de un objeto apropiado de la realidad de la pintura.
Foucault desde su perspectiva de lego (layman), y es sorprendente la erudición que siempre anticipa esta aseveración en autores como Deleuze o Foucault, propone una simple hipotesis, Manet consiste en un punto singular de la historia de la pintura más que por presagiar ciertas tecnicas o tecnologías del color y la expresividad, es decir, hacer posible el impresionismo, por comenzar (aún si timidamente) la forma moderna del arte-objeto (mas que presagiar Pissarro o Cassat presagiaba a Duchamp).
¿Cómo?
Desde el Quattrocento uno de los movimientos fundamentales de toda pintura era la de desaparecer la materialidad misma que sustentaba el cuadro, hacer olvidar que al final todo estaba en una pared, un lienzo. Manet sería el primero en recobrar la materialidad misma del cuadro orientandola a cobrar su propia expresividad artística, esto no los demuestra Foucault en tres series con respecto a la planidad o superficie y tejido del material del cuadro, el uso de las fuentes de luz internas y externas y hasta le intución de un anverso del lienzo a traves de los representado en el cuadro.
Este es un texto algo simple, y carece de la profundidad e incisividad historiográfica que un lector de Foucualt espera (aunque por supuesto complementa otros trabajos y algunos de los temas importantes en toda la obra de Foucault, la representación, la mirada, etc). No es en absoluto un trabajo esencial sino para aquellos profundamente interesados en Manet o aquellos que buscan embutirse todo el corpus foucaultiano.
June 30, 2011
Transcript of Foucault's interesting illustrated lecture offering a concise introduction to Manet's formal innovations to which arguably all subsequent paintings owe a debt.
January 1, 2022
Foucault's lectures on the material properties of Eduardo Manet's painting, held in 1971, are the first example of the use of archaeology as a method in the study of paintings. The archaeological method that Foucault offers us allows us to get answers to some questions that are asked at the end of his book Archeology of Knowledge.
The genealogical method he develops in the Archaeology of Knowledge is, in fact, essential for understanding analysis and an example of how an episteme can be applied in non-scientific practice. Foucault's archaeological approach to art, and his analyzes of Manet, primarily refer to the reflection of a certain artistic event in accordance with the historical context, and his analysis is of a formal character, without explanation and investment in aesthetic explanations of paintings.
The special significance of Foucault's analysis is the standpoint of "gaze" (Gaze, English - Le regard, French) in terms of a conceptual explanation of the act of seeing and the place of painters, observers and actors of painting...
The genealogical method he develops in the Archaeology of Knowledge is, in fact, essential for understanding analysis and an example of how an episteme can be applied in non-scientific practice. Foucault's archaeological approach to art, and his analyzes of Manet, primarily refer to the reflection of a certain artistic event in accordance with the historical context, and his analysis is of a formal character, without explanation and investment in aesthetic explanations of paintings.
The special significance of Foucault's analysis is the standpoint of "gaze" (Gaze, English - Le regard, French) in terms of a conceptual explanation of the act of seeing and the place of painters, observers and actors of painting...
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December 6, 2024bei der schilderung des unsichtbaren im gemälde das starke bedürfnis verspürt ins nächstbeste museum zu gehen. gleichzeitig wird hier schon ersichtlich warum die rezeption von foucaults texten bspw. im bereich der filmtheorie katastrophal war. vereinfacht gesagt suggeriert foucault, dass manet mit der illusion die seit der renaissance darin besteht die materialität eines gemäldes zu kaschieren, bricht. diese logik lässt sich leicht aufs kino anwenden, was die sehnsucht nach authentischen und politisch engagierten filmen mit einer zweifelhaften anwendung des verfremdungseffekts weckt. lacans konzept vom realen anzuwenden wurde notwendig um solche fehlschlüsse zu unterbinden.
August 8, 2025
Conferenza del '71 su Manet a proposito delle sue innovazioni stilistiche e pittoriche che lo rendono precursore non solo dell'impressionismo ma, a detta di Foucault, di tutta l'arte contemporanea non figurativa. Il testo di per sè è interessante ma non è ben inquadrato nel resto della filosofia di Foucault (pur sempre una conferenza eh) quindi questo lavoro è da fare autonomamente. Ci sono anche 7 micro saggi di 10 pp su Manet e su Foucault ma non ho voglia di leggerli (forse ne leggerò qualcuno in futuro).
October 30, 2024
The Bourriaud foreword is better than the Foucault main course. The Foucault so sadly reads simply as ekphrases, and not even good ones. He knows it so he makes a preliminary excuse at the top “Sorry guys *cough cough* I’m sick”. At least Bourriaud makes some interesting points out of it, exaggerates a little, reads Foucault’s overall career into it,, otherwise the book would be this empty dog shit cash grab for Foucault’s publisher. Which maybe it still is.
January 21, 2023
马奈发明了“实物—画”tableau-objet，绘画不再成为纯粹表象性的，而敞开了画本身的物质性，从而使文艺复兴以来被掩盖的绘画的位置性和光照性在场得到显现。①画布空间：杜伊勒利公园音乐会和歌剧院化装舞会通过垂直和闭塞的构图取消了景深；马克西米安的处决的人物在逼仄的框架下以知性符号瓦解了传统的空间-感知原则；波尔多港突出画横纵轴心的几何性而与画布融为一体；在温室的裙褶复制了从横到纵的运动；卖啤酒的女侍在破碎的画面中展示不可见物；铁路现出画的正反面而促使翻转。②光线：吹笛少年使光弥散并引向现实光源；草地上的午餐使光的两个表象系统重叠而增强异质感；观者的目光带来奥林匹亚的裸露；露台的人物是悬置的音符，景与人色彩颠倒以迎接复活。③观者位置：弗里-贝尔杰酒吧在内部撕裂成三个互斥位点。一切涉及目光。
August 15, 2021
Es la primera vez que leo algo de Foucault y también algo de Manet así que no sé cuánta opinión puedo tener, pero se lee muy rápido y me gustó la claridad con la que explica los tres puntos centrales en los que el artista revoluciona la pintura.
July 28, 2017
He dejado de odiar a Manet. Mi amor por Foucault, por su parte, continúa aumentando.
December 22, 2017
Finally one day we can get rid of representation itself and allow space to play with its pure and simple properties. Its material properties.
January 16, 2018
Ενας απο τους κορυφαίους σύγχρονους φιλόσοφους αναλύει το έργο του Μανέ
και το πως αυτό οδήγησε στην τέχνη του 20ου αιώνα όπως την ξέρουμε . Απολαυστικό, το διάβασα απνευστί
και το πως αυτό οδήγησε στην τέχνη του 20ου αιώνα όπως την ξέρουμε . Απολαυστικό, το διάβασα απνευστί
January 27, 2023
Very well redacted speech about Manet's freaky techniques to change academic art. There are some things about paintings you won't ever understand if not explained this good.
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June 5, 2025sospiro fortissimo
September 24, 2025
(2.5)
conocí a Manet hace 2 meses pero damn ahora siento que es qué se yo, mi tío
conocí a Manet hace 2 meses pero damn ahora siento que es qué se yo, mi tío
March 29, 2019
ANFÄNGE DES EINBEZUGS DES GEMÄLDES INS GEMALTE: DER BILDINHALT "WEISS" SICH ALS GEGENSTAND IM RAUM, VOR ZUSCHAUERN USW.; KUNST WIRD SELBSTREFLEKTIV, IST NICHT MEHR NUR ÜBER ETWAS, SONDERN BESCHÄFTIGT SICH MIT IHREM EIGENEM VORGEHEN
Der Aufsatz in der Merve-Edition ist eigtl. nur 40 Seiten lang, und mit augenfreundlicher Schriftgröße und weitem Zeilenabstand gedruckt; der hintere Teil enthält alle 12 besprochenen Bilder Manets in Farbe. Hin- und Herblättern ist aber umständlich, wenn man das Gesagte mit dem Gemalten vergleichen will. Einfacher ist es, alle Bilder mit Google Images zu suchen, auch weil sie dort größer zu sehen sind (mind. 1024x).
Der Titel ist wörtlich zu nehmen: Foucault schreibt allgemeinverständlich über Édouard Manets Malerei und fast nichts über den Maler, die Person, seine Zeit. Die Leinwand z.B. als rechteckige Wand, die ein Davor und ein Dahinter trennt bzw. verdeckt, wurde nicht mehr mit Tiefe u.ä. zum Verschwinden gebracht, sondern Teil der Darstellung. Manet betont häufig die Vertikalen und Horizontalen und integriert Betrachter und die reale Raumbeleuchtung (frontal/wenig Schatten) statt die Lichtquelle im Bild zu erfinden. Manets Bilder sind relativ "flach".
Manche erwarten mglw. mehr Originalität von Michel Foucault, der Aufsatz ist zumindest kurzweilig und informativ. Foucault meint mit Manet nicht nur Anfänge des Impressionismus sondern aller zeitgenössischer Kunst gefunden zu haben.
(Le Balcon, 1868-1869; Wikimedia Commons)
(Dans la Serre, 1879; Wikimedia Commons)
Der Aufsatz in der Merve-Edition ist eigtl. nur 40 Seiten lang, und mit augenfreundlicher Schriftgröße und weitem Zeilenabstand gedruckt; der hintere Teil enthält alle 12 besprochenen Bilder Manets in Farbe. Hin- und Herblättern ist aber umständlich, wenn man das Gesagte mit dem Gemalten vergleichen will. Einfacher ist es, alle Bilder mit Google Images zu suchen, auch weil sie dort größer zu sehen sind (mind. 1024x).
Der Titel ist wörtlich zu nehmen: Foucault schreibt allgemeinverständlich über Édouard Manets Malerei und fast nichts über den Maler, die Person, seine Zeit. Die Leinwand z.B. als rechteckige Wand, die ein Davor und ein Dahinter trennt bzw. verdeckt, wurde nicht mehr mit Tiefe u.ä. zum Verschwinden gebracht, sondern Teil der Darstellung. Manet betont häufig die Vertikalen und Horizontalen und integriert Betrachter und die reale Raumbeleuchtung (frontal/wenig Schatten) statt die Lichtquelle im Bild zu erfinden. Manets Bilder sind relativ "flach".
Manche erwarten mglw. mehr Originalität von Michel Foucault, der Aufsatz ist zumindest kurzweilig und informativ. Foucault meint mit Manet nicht nur Anfänge des Impressionismus sondern aller zeitgenössischer Kunst gefunden zu haben.
(Le Balcon, 1868-1869; Wikimedia Commons)
(Dans la Serre, 1879; Wikimedia Commons)
August 30, 2012
While I agreed with a lot of his observations, I found the majority of them unoriginal. I feel that painters and art historians up to this point had all ready explored and written about Manet's flatness, the displacement of the viewer, and the recognition of painting as a 2D object rather than an illusory window. I was expecting, both from Foucault's philosophy/history background and the time at which this lecture took place, that the analysis would have gone in another way. I came to the conclusion at the end that this lecture was published more so because it was done by the famous Foucault, rather than having any original merit on furthering our understanding of Manet's work.
July 16, 2016
Este libro incluye una brillante ponencia de Foucault sobre la pintura de Manet y un estudio de rectificación preparado por un discípulo de Foucault que permite continuar la discusión en coherencia con el estilo de pensamiento dinámico, abierto, dialéctico. Me gustó mucho la palabra viva de Foucault, el libro se basa en la transcripción de una conferencia. A la vez, esta conferencia, más allá de sus imprecisiones menores, extiende en tensión varios pensamientos propuestos en Las Palabras y las Cosas. Opino que se trata de un libro breve, genial, estimulante para pensar tanto a la plástica moderna, como a Foucault.
September 4, 2015
A short and in-depth look at three different styles that Manet uses. A brilliant book for first time Manet fans.
This book was a speech that Foucault did as a seminar on Manet. It’s a short book, roughly 80 pages long, but it is chock full of information and analysis of Manet’s technique with lighting and spaical placing.This is a brillant book for a beginning of a study of art or for someone who knows a lot about it wants to have a quick read. I gave it 4 stars.
This book was a speech that Foucault did as a seminar on Manet. It’s a short book, roughly 80 pages long, but it is chock full of information and analysis of Manet’s technique with lighting and spaical placing.This is a brillant book for a beginning of a study of art or for someone who knows a lot about it wants to have a quick read. I gave it 4 stars.
August 30, 2016
I love Foucault and Manet, and I was excited to find that this book existed when I came across it at the Barnes Collection bookstore, but this lecture was not interesting either in terms of art history or philosophy. Was the Tate was just trying to cash in by publishing this one?
August 10, 2022
Fantástico libro donde podrás entender el concepto de "cuadro-objeto" introducida por Manet y de su desprendimiento en base a la represetnacion clásica.
This entire review has been hidden because of spoilers.
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