paint and touch.
"We do not touch the paint! Only with eyes. "This is what can be repeated and heard in the halls of a museum year-round. Yet a close relationship with a reality and a reality suggested by the paint touch is naturally called visually by the painter. Indeed, if the eye makes a first seizure of the real, hand and body which it is attached materializes and makes it accessible. Between the fourteenth and twentieth century history painting touch is played in a thought of convening a reconciliation of pictorial space and real space. Whether the contacts between the various protagonists of a scene, or a claim of materiality pictorial actively involving the viewer, the painting calls the sense of touch to agree a supplementary sensory immersion. Address space and time by the sensory needs to ask a touch of paint. The empirical nature of the playing table on visual impact on the viewer naturally convene the body as an intermediary. By the characters depicted and the viewer, by touching the paint to give and not just to see the performance.
The sense of touch a body set up by his nerve endings, by convening the sense of touch artists promote a projection and an investment body. The contact is the point where two bodies touch. The contact is a possible location and a basic element of spatial development and the likelihood of painting. As part of the conference cycle time and sensory areas, touching testimony a research and a willingness to convene the body in a relationship "real" with the painting. Indeed, if the view is the first spatial reference frame, body and touch is the second.
The incarnation of a straight connection between the divine and the devotee leads to a tactile representation and accessibility of the body appeared. In the Virgin cherry, child outstretched arm seems to catch the fruit that holds his mother in her right hand. Beyond give a child, cherries become an object of lust. The paint must make this convincing gesture of wanting to catch and create a contact.
The Virgin and Child are an iconography of contact between mother and son. Mary represents the terrestrial part of the original incarnation of Jesus. In pressing his mother, this iconography refers directly to the mystery of his incarnation. Embodies the Virgin's intercession with her son and us. Cherries she holds in her hand, are evidence to its terrestrial nature to consider ourselves as we were getting. The body of the saint and offered us. The characteristics perceptible feminization marked hips and breasts budding strengthens accessibility. Virgo is an interface for contacts between the devotee and the child.
The physical contact and communication between the different characters of a religious figure is to construct a network in which the devotee is itself a party. The issue of a devotional iconography is to contact the saints with the devotee. The touchscreen is used to support the relationship between the figures of human nature and divine nature of the figures. If the look and vectorization have a didactic role and directive, touch and physical contact between the saints are the same operation by calling either the visual perception but the projection body in relation to the holy figures.
Another iconography depicting the Virgin and Jesus plays an opposite phenomenon. This is the crowning of the Virgin. The gesture shown to place the crown on the head of Mary is to be suspended. Consecration of the Virgin by his coronation gives it inherently less human and more divine. Achieved by comparing the coronation in Bologna and the crowning of Lorenzo Veneziano, we can understand the aesthetic of contact by the very gesture of the Virgin. By opening its arms on the panel Venetian it demonstrates the acceptance of his coronation. This gesture can be analyzed as a movement to embrace her son. Even if the contact or touch are not figured, gestures can imagine. The relationship between mother and son is becoming closer and more intimate. As observed in previous conference "painting, an empirical object?", The link between mother and son to the Virgin nursing compact and it appears that touch of intimacy in which the child referred to suck the breast of his mother .
This representation of the contact and the physical link uniting mother and son enhances accessibility to the figure of Jesus, but also devotes a portion of the divinity of the figure of Mary. Representing a land link and flesh, it makes the figures available not just visually but in a remote scene in a physically and bodily proximity to the subject. Touch to the period of primitive vocabulary is where the representation is an approximation of the image and the viewer. In convening the incarnation and figures, but also the embodiment and individuality of the viewer, touching testament to this change of image from the Middle Ages and the Renaissance.
The tactile communication between the different characters can define their nature. Eustache Le Sueur at in his painting the Madonna with Child and St. John the Baptist, we can see St. John the Baptist lift and touch the child's leg. This representation reinforces the audit of the incarnation. Indeed, with the representation of touch, the artist include a weight of the flesh. From the iconographic point of view, this "verification" of St. John the Baptist can include validation by the last prophet of the incarnation of the son of God. This supports the approximation and accessibility to the figure of the child for the devotee. The body presented to us is not inaccessible on the contrary, it is actually and fully available visually but tactilely.
If the view is the fundamental meaning of the painting, touch is a vocabulary building and enhancing the accessibility to the figures. For the same period of the seventeenth century, we can stop the sense of touch returned from an engraving of Abraham Bosse. This table shows the bad and the good use of the senses. Let's start with the bad, figured in the foreground, with this young woman on the lap of a man who exchanged a number of hugs. If a religious image accessibility to the body is used to validate the incarnation and make the holy man accessible to spectators, this should not be abused in a picture of a profane body and accessible. Good use is shown by the servant in the background of the composition which affects their sweetness and draperies tactile quality. Touch is important to strengthen the link with reality. But should we still know what is good or bad touch.
In the Holy Family with St. John the Baptist Caravaggio copy after, we see a double set up staging touch. The hand of St. John the Baptist is like arrêteée or tours of the city by that of Joseph. St. John the Baptist figure through between the Holy Family and we'll put in physical contact with Joseph. Our movement within the party up until the child is then passed through a devotional path hierarchy. By contact we move from St. John the Baptist to Joseph, Mary Joseph and Mary to the child. Caravaggio still uses the principle of touch as a means to make available the figures represented. But with the chiaroscuro and the attention to colors and textures of the drapery, it seems that the touch is not just called religiously. The pictorial material by its thickening, and its establishment as defined significant attractions Tactile devoid of religiosity. The representation of the material calls the sense of touch by visual perception as an added pleasure to the eye and brought to the body.
Again this scale the receipt of the artwork of a regime sympathetic to a regime pleasant led artists to develop a call by the body not merely religious but sensory.
In Dutch still lifes, this principle of rendering the material in a sham as well as physical visual artists led to increasingly develop the concept of a bodily felt by the visual. Cheese still life reflects this research and the confrontation of different textures and surface, expected to generate in the beholder a feeling physically. Fisheries, like grapes or oranges yet both refer to the experience and knowledge of these fruits and the viewer who finds what he could visually tactile experience. The sense of touch is not direct, he is remembered. Like the previous conference posed the question of painting as an empirical object, that is to say not related to the theory but in experience, meaning touch through the depiction of still life is actually called by the experience of those who observe the work. Away from religious themes, paint offers a feeling and bodily empirical s projections. The sense of touch is "stroked" by the artist who plays his virtuosity represent external nature and tactile objects to allow the viewer to call his body and his experiences as a sensitive interface further observation. The sensory pleasure of a painting is not just visual, it becomes the structure of the touch element Summoning all body.
The painters of the eighteenth go through the key, look for the hue distribution of the sensible. The drawing contains the form, allows the visual identification of the object. But painting plays on the texture. The artificiality of the subject is never rejected. The pictorial surface is tactile. Brush strokes of Charles de la Fosse or alternatively the material effects of the portrait of Nicolas de Largilliere are evidence of an embodiment of the touch but no longer remembered claimed by the tactile quality of the pigment, the binder and its implementation. The smoothness of skin texture, the thickness of a pile games that are ready to look for pleasure from observing the painting. The pleasure and the sharing of sensitive are summoned by the painter, not just a transparency, but opacity. The amateur in his quest for a sensory pleasure, is pleased with the painting as an area where touch is activated directly convened. The contact of the brush on the surface of the canvas shows the trace of the painter. The aesthetics of touch materializes as evidence of creative activity. The viewer will be confronted by its sensitivity to the activation of the surface. François Boucher's paintings show the material in its thickness and its ability significantly. The viewer's body is not projected just mentally but physically confronts the paint, color, contact. This rocking sensory convene more body and thereby touch. Even if the relationship is not physical, impasto observable evidence of a breach of the likelihood will increase the physical impact on the viewer.
The feeling and sentiment driven by an empirical principle, questions the work of art in the physical relationship it creates with its viewer. That sharing of sensitive work which is the interface becomes a matter of development of modern painting in the nineteenth century. The realization of the vision and its realization led the pictorial object to become a sensory and tactile experience.
Eugene Delacroix in his painting of 1848 comedians or clowns Arab has a thick material, claiming its opacity and especially having a uniform treatment to all of its surface. The eye is of course the target organ, we have already extensively discussed at previous conferences. But these coatings and thicknesses become the object of close observation. We could give an idea: remote viewer perceives only the subject and composition. While approaching the table becomes accessible to the hand and surprisingly the key and the painted structure become tactile. In a position identical to that of the painter, the viewer is in itself a purely manual is almost touch with paint. At your fingertips, the table is a purely tactile surface and decomposed.
We find this same principle among the Impressionists, the key it is even more strongly marked. Claiming a gesture and a contact between their hands, brush, paint and canvas, This fragmentation reinforces the fundamentally tactile aspect. The surface of the work irregular, chaotic dialogue with the viewer in a table that pretends the impression surface and attracts almost hand to touch him. The senses and touch such a composition more than it materializes the abstract subject of painting itself. The eye is the target organ, but the hand is a necessary intermediate. The key reflects the painter's gesture, and almost invites the viewer's gesture.
The tactile feel of the table is no longer attached to its subject but its subject matter. When observes the great paintings by Olivier Debre, we can truly be affected by aspects of gloss and matte painting. The impacts of the material creates a projection of the volumes. Once again these pictures are eye exercises. The eye is the central organ of lyricism and expression. But when the painter's body is convened, that the scale of the table is that of its director, the hand and touch are never omitted or excluded. The painting entitled Great gray of 1959 demonstrates perfectly this gesture and the impact of this contact between the hand and the surface. As a response to this tactile sculptures signs Characters the early 60 shows the impact of the fingers of Olivier Debre and invites the spectator's hand to repeat the gesture of the creator.
Painting remains fundamentally manual though it wants to make an intellectual object. The touch is always present. It is simply meant or represented concretely, touch is a necessity for painting, because it allows the body to convene and therefore real.
To match the space-time by the senses, the painting invites naturally interfere with the exercise of his visual observation. How many texts describing tables are delighted that bloom in order to achieve drapes that seem softer than each other. In a representation of the weighting, the weight and gravity, touch is basically the meaning convened. Its activation changes as and when developments in painting but also its reception. For artists the successful painting may be that while making the reality of its surface is a concrete observation and its quality. We do not touch a table with his hands. Why is it so hard at times to hold back, because the hand and touch are always invited by the painter in this sensory experience of painting.
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