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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
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A Theory of the Tache in Nineteenth-Century Painting (Paperback)
Loot Price: R1,321
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A Theory of the Tache in Nineteenth-Century Painting (Paperback)
Series: Studies in Art Historiography
Expected to ship within 10 - 15 working days
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Without question, the tache (blot, patch, stain) is a central and
recurring motif in nineteenth-century modernist painting. Manet's
and the Impressionists' rejection of academic finish produced a
surface where the strokes of paint were presented directly, as
patches or blots, then indirectly as legible signs. Cezanne,
Seurat, and Signac painted exclusively with patches or dots.
Through a series of close readings, this book looks at the tache as
one of the most important features in nineteenth-century modernism.
The tache is a potential meeting point between text and image and a
pure trace of the artist's body. Even though each manifestation of
tacheism generates its own specific cultural effects, this book
represents the first time a scholar has looked at tacheism as a
hidden continuum within modern art. With a methodological framework
drawn from the semiotics of text and image, the author introduces a
much-needed fine-tuning to the classic terms index, symbol, and
icon. The concept of the tache as a 'crossing' of sign-types
enables finer distinctions and observations than have been
available thus far within the Peircean tradition. The
'sign-crossing' theory opens onto the whole terrain of interaction
between visual art, art criticism, literature, philosophy, and
psychology.
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