The description of the work as activation
Description: represent, portray by speech or writing.
The speech and accompanying text in its development work and classical humanist painted. The description becomes the means to qualify and to estimate the value of the work. Even before the emergence of art criticism, the text builds a speech highlighting the table. In our series of conferences devoted to the representation of space, time and questioning of the senses, the discourse on the work is an activation. At the conference on temporality, we highlighted the time value of the speech. Indeed, the work of art is a space object which only the activation by the audience gives it a temporal regime. The description of a work is not a trivial matter, beyond thinking about the visual impact that the picture may have, it is to give the painting a regime claiming his intellectual and literary quality liberal.
dialogue between different artistic practices is done mainly in a comparison not merely technical but also visual and discursive. From the fourteenth century, the function "illustrative" of the table with the text as the artist leads the viewer to understand the quality of a fixed figure in the development a story. This conference will try to understand how its composition by the artist in a classical model for developing an iconography linked to a story, offer a song or an excerpt from a story by describing mental. This attachment to a text requires the artist to offer an interpretation.
panel from a marriage chest, representing the story of Camille, illustrates this principle by the recomposition of the narrative description. Indeed, the multiplication of actions of heroin within the same space is Organized by the viewer himself. The narrative quality of a work is generated by its viewers. The artist is the first owner of the narrative but also the viewer can not appropriate the work only through knowledge of history. Faced with religious and devotional paintings we never ask ourselves the question of the representation of narrative and identification. Yet even if the textual knowledge is shared by many, the individual qualities of treatment of the subject show an appropriation of history by one who makes it. Variations or compositional effect, claims an individuality of its director. It can be identified only by comparison and understanding of his audience. The description is to say, a look that is a sufficient distance on the work to understand its qualities can be regarded as a time qualifier of the table and apperceptive.
Individualization of representation is a consequence of the reform and the establishment of a humanistic civilization. The value of the artist is to provide an identifiable image for the greatest number, but whose composition is undoubtedly linked to the hand and mind of one who has done.
At Renaissance, text and image interact not simply a recovery narrative. The development of theoretical treatises on the quality of the painting provides a description of the rational aspect that needs to judge and compare individual and compositional qualities of each work and each artist. For a recognition liberal painting will then talk with poetry. Transformed the maxim of Horace, "Ut Pictura Poesis " will feed a theory of classical painting.
This link painting and poetry is a claim of a liberal art and switches between space and time called in the image. The writing is the source of the visual with the visual description is the source of the writing.
As evidenced by the interest in texts dating to ancient times and providing descriptions of paintings ever seen. One of the most famous is the story of the contest between the painter Zeuxis and Parrhasius. One day, Zeuxis painted grapes so lifelike that birds were deceived and tried to peck. General amazement before the great talent of the painter. But now there Parrhasius secretly added a curtain wall, as if to protect Table of sunlight. Zeuxis, may still be intoxicated by its success, fell into the trap and tried to raise the curtain. Not a chance, he admitted defeat. The birds had only come back to bump the nose, bitter flavor on the surface of the image.
This legend has nurtured over centuries of questions and references. It gives rise to the belief in an ideal of art by painting vraissemblance between reproduction and its model and shows how quickly men like to be a spectator, participant prodigy and commenting. The eye-catching image and text. The Grapes have not crossed the time but the story gave them an eternal character. The painters of the Renaissance fetched legitimacy to the work in the literature. By assimilating the poet, he tries to access a new dignity of an art called liberal, that is to say, performed by a freeman and whose creation was authority, to escape the character looms which the painting was so related. It is, among other things, why the tables "literary" are increasingly in the sixteenth century, enriching the religious background operated in the Middle Ages by exploring the mythological vein. We can then think of this sentence Leonard: "Painting is silent poetry and poetry painting blind ..
should be writing to painting to understand its qualities and that the artist must create a reconciliation with his observer. The principle of reasonableness in this questioning of the natural beauty and ideal allows paint in a theory of imitation to claim an image that is an idealization. This dialogue between the text and the image becomes the spearhead of a classical culture in which the painter if he wants poet must generate a feeling and a relationship to the text. The description assumes then a transposition operation which takes us from the visual order of the register of language. Although it is never objective, it must nevertheless move toward a descriptive effort. This then forced to refine the look and the description, learn to see and make sense of the singular work.
Mantegna Both panels demonstrate that textual culture emerging. Whether in the likelihood of the nature of the Olive Garden, or even in complete artificiality of the summons of Christ sculpture Risen, becomes the order of the visual narrative and narrative then leads the viewer learned to single out the singular to describe its qualities and aspects almost anecdotal. The commentary of the work by the possibility of ekphrasis is understood and developed by the artists themselves in the picture's quality. The composition is intended as a homogenous group who nevertheless bound to the principles of the text is truly dislocated. The commentator becomes mediator between the viewer and image. The text is not simply the expression, it becomes an interpretation. The Plan Description the table is intended as both a mirror of reality control, but also as an evocation of an invention expressed. The artist is not only a technician is primarily an interpreter. For the table may have an impact and raising morale for what he observes, the artist takes as his source of narrative texts with previous historical and moral recognition. The conquest of poetic artistic value than resting on an evocation of the drama and history. The description does not focus simply on a visual exercise resulting from an analysis of visual coding established by the artist, but pointed to the quality of the latter to interpret a story known then having an impact visually memorial. The history of poetry or even become the fundamental sources and a rewarding work that is the reflection of a civilization.
From the Renaissance to the common recognition of a higher value of the painting with the text generates the classical scheme of the work. Imitation, invention, expression or even the convenience of analysis grids become the value of the artist. The history and great stories mythological lie above all other genres, beyond a theory of imitation, the artist calls a dramatic regime where the reader viewer is truly an actor's interpretation.
The description is a surprising and paradoxical marriage between a compositional and visual interpretation of the artist and a visual interpretation of his intellectual and viewer. Commentators whether French or Italian will find the scheme and the idea of perfection in painting.
the seventeenth century to the call for chicks and for the promotion of large painting in France in imitation of the antique, the commentary seeks to define the French artistic values and a beauty ideal. The text and description is then a process of narrative representation in which the discourse feeds reflect aesthetic, a privileged means of knowledge and dissemination of the work of art, from its creation to its reception. The legitimacy of a work is more a collective reception but in a ruling by a few of its value. Theorists of the Royal Academy of Painting and Sculpture will always discuss this issue the description as a grid and need to establish a hierarchy of topics.
This dialogue with the text and literature based on history and retains only poetry. Indeed, the genre seems to be able to generate and sense of narrative. In a development director as its commentator, identification and narrative become stooges of the activity table. Direct or implied comparison of painting with poetry animates and shapes. The painter must not merely imitate nature, it must respond to a doctrine of this quality and this ideal by his invention.
The text becomes a temporality and a grid of reading sought and claimed by the artist himself. When the Royal Academy of paintings and sculptures set up conferences, the commentator of the image is the artist himself. But above all the principle of description emphasizes the logic of detail and reading of the work. The historic plan of the table attached to the principles of representation of the narrative then offers a temporal nature in painting. The comparison with the poetry but also with the narrative texts flourish and style.
The literary description is a reproduction of the painting. The artist from the seventeenth century and was fully aware that approval should be thoroughly familiar. We could speculate that this classical culture and breeding work written or verbal lead artist in search of sensory and intellectual impact. The evocation of grand narratives play in the scheme of Table instructive. The artist must be aware that it implements an object visually describing the story in a moment suspended and resumed his narrative thread in the eye and the commentary that he observes. The text and description are provided to touch the sense that speaking to the intellect.
The pictorial vocabulary becomes a literal vocabulary. When we look at the pieces of receipt of the Royal Academy of Painting and Sculpture, it is evident that his works are always a call for comment and a response to a grid and a plastic doctrine. The latter is as much visual and descriptive. The description and text are real time development and registration in a given time and stylistics. The commentary is the ruling of the work and attempt a recovery and development.
This detailed reading is seen as a composition effect and a visual response to the speech. In the fruits of peace Ryswick Marot, collusion between imitations and inventions are permanent. To open the grenade in the foreground meets the ancient bust of the second. The vocabulary and visual qualities become concrete and physically stooges of the artist. Vocation education and welfare of this table combines the regime of imitation and invention .. The look is meant cultural and classical trying to make paint effects by questioning intellectual. The grid utopian objective can not forget the significant role of painting. The poetics of the painter is to mislead the viewer while seeking to educate through an idealized vocabulary.
Just as the mention of the sculpture, music or even dance, the artists in the eighteenth century to meet quality and universal beauty. The description is their ability to represent the world and to generate a coherent and uplifting.
Even if the description is full of sensitivity and feelings, the flip-flop in a written plan for the reproduction of a painting is meant as an intellectual act reflecting the impact of social and collective work. The artists belong to a cultural orientation. The description remains the preserve of a select few scholars and able to generate and observe the painting as an ideal object. This reference to the ongoing story and history through its sources can give it a drama.
painters belonging to the neoclassical regime will continue this historic picture. All details are in favor of archaeological work referring to the period of the story represented. In the Syracusan who Tymoléon bring strangers, clothing, furniture, staging, and the architecture that serves as a backdrop, are a window into the history and the past. The description is a reflective act and moralizing. It is nevertheless an existence and activation of the table. This attention to narrative and drama does not permit the emancipation of subjects below the story. The description may be considered beyond the intellectual as a way to recreate or reproduce the work by the text. This activation reflects a movement of the gaze and the means of the fragmentation in order to dissect value codes and composition. From the fifteenth century, the work can be described partially or completely naturally becomes a field related to a spatial temporality. The latter can be narrative description of the narrative, or even physical movement of the eye. The paradox is that the original description even if she wants an intellectual act, remains subjective and attached to the eye. We can not cut us off from our sensory and our personal sensitivity regarding the description and comment table. If in a classical regime and academic work, the description becomes an objective grid for linking all works to the same doctrine, the emergence of an individual look and sensitive side to the table then leads artists to reflect on questions of fact, visual impact and communication. The description can not be an objective act because it is fundamentally linked to a subjective perception. Evidenced by the fact that every description is signed by the observer. The flowering time by the text is inexorably linked to a sensory principle. Realizing that artists are from the fifteenth century under the proposed amateur sensitive sensory communication with the work.
Bibliography - Edited by Pascal Dethurens, Write painting Diderot Quignard, citadels & Mazenod, Paris, 2009.
- Rensselear W. Lee, Ut Pictura Poesis, Macula, Paris, 1991.
- The description of the artwork, the classic model to changes in contemporary art history collection of the Academy of France in Rome, Somogy, Paris, 2004.
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