At his death in 1992, the eminent philosopher, critic, and theorist
Louis Marin left, in addition to a dozen influential books
(including "Sublime Poussin," Stanford, 1999), a corpus of some
three hundred articles and essays published in journals and
anthologies. A collection of twenty-two essays that appeared
between 1971 and 1992, this book interrogates the theory and
practice of representation as it is carried out by both linguistic
and graphic signs, and thus the complex relation between language
and image, between perception and conception.
The essays are grouped in four parts that reflect the continuity
and coherence of Marin's interests in semiology, narrative,
visuality, and painting. The interdisciplinary horizon of the book
draws on multiple scholarly resources--the cultural history of the
seventeenth century, the philosophy of language, the tools of
discourse analysis, the history of art and aesthetics, the analysis
of reception--to address a stunning diversity of subjects ranging
from historical painting through cartography to the processes of
deciphering texts, interpreting stories, and "reading" images.
Throughout the essays, Marin's reflection on representation is
supported and deepened by his brilliant exegesis of graphic art.
His analysis of works by Caravaggio, Philippe de Champaigne, Le
Brun, and Poussin, among others, provides the armature that allows
him to describe both the structural logic of representation and the
intricate processes of production and reception that make it
dynamic and unstable. Marin demonstrates with consummate rigor why
the pursuit of a general theory of representation is experienced by
artists and critics alike as an inevitable, yet unattainable
objective.
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