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Books > Arts & Architecture > The arts: general issues > Theory of art
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A Theory of /Cloud/ - Toward a History of Painting (Paperback, REV)
Loot Price: R887
Discovery Miles 8 870
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A Theory of /Cloud/ - Toward a History of Painting (Paperback, REV)
Series: Cultural Memory in the Present
Expected to ship within 10 - 15 working days
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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 author's 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 Brunelleschi's 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. Insofar as the
cloud is a semiotic operator, interacting with the linear order of
perspective, it also becomes a dynamic agent facilitating the
creation of new types of pictorial space. (Damisch puts the
signifer cloud between slashes to indicate that he deals with
clouds as signs instead of realistic elements.)
This way of looking at the history of painting is especially
fruitful for the Renaissance and Baroque periods, but it is also
valuable for looking at such junctures as the nineteenth century.
For example, Damisch invokes Ruskin and Turner, who carry out both
in theory and in practice a revision of the conditions of
appearances of the cloud as a landscape feature. Even for the
twentieth century, he has illuminating things to say about how his
reading of cloud applies to the painters Leger and Batthus. In
short, Damisch achieves a brilliant and systematic demonstration of
a concept of semiotic interaction that touches some of the most
crucial features of the Western art tradition.
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