In The Theatre of Dionysus in Athens Dr. Pickard-Cambridge includes a most useful and convenient collection of south Italian vase-paintings which have been held to throw light on the stage-settings of Greek tragedy. He concludes that they give no evidence for Athens in the fifth century and in particular do not justify the assumption that interior scenes were played in a porch in front of the central door. The second conclusion is true, but some of the vases do show (...) that the central doors could be thrown wide open to display an interior scene. The first conclusion is formally correct, but it should be remembered that the “plays came from Athens, and it is at least possible that the south Italian producers modelled themselves on Athenian producers. In any case these vases are worthy of further consideration. (shrink)

Italian ms 63, now in the John Rylands Library, contains fifty-four images of monstrous births, both human and animal. The manuscript was probably completed in the mid-eighteenth century and was owned by Edward Davenport of Capesthorne Hall and later by the Manchester-based physician David Lloyd Roberts. This article explores the possible sources for some of the images, which range from descriptions or illustrations in well-known publications on monsters, to popular pamphlets, to drawings and paintings. An analysis of the choice (...) of subject matter and the ways in which the source material has been used places the manuscript within eighteenth-century collecting practices and emphasises the multivalency of the monstrous. (shrink)

Cretan icons often displayed a precious decoration of golden halos with incised, stippled, and/or impressed designs. The present study points out that these motifs should not be interpreted as manifestations of nostalgic and anachronistic attitudes on the part of post-Byzantine painters working in Candia for Greek Orthodox and Catholic clients. Rather, they appear already in several early Cretan works dating around 1400, which took inspiration from technical devices and ornamental motifs worked out in the workshops of Venice during the second (...) half of the fourteenth century and appropriated in icon painting probably through the mediation of mixed-style works produced in both the lagoon region and Venetian-ruled Candia. (shrink)

Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this (...) paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically). (shrink)

This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a (...) certain perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far from (...) providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

SUMMARYEarly modern artists who did not have access to Roman Antiquity or needed quick access to it could refer to prints after monuments such as those issued by Antoine Lafréry. But Du Choul's Discours sur la castrametation et discipline militaire des Romains [ … ] De la Religion des anciens Romains was also successful among artists, particularly painters. It was in vernacular language and widely available in French, Spanish and Italian; it was affordable and compact in format ; it (...) had plenty of woodcuts; and it focused on the Roman military life, besides the monuments, for which information could also be found in travel guides. The present essay aims to study how Du Choul's volume circulated, with several examples from Spain and Italy. The Discours will be used as a case study of artists as readers, and I will study aspects previously overlooked such as the book's market price in the early modern period, examples of use of copies of the book by artists and, more broadly, the troubles and challenges encountered by these readers when representing subjects from ancient history. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

This essay develops a critical interpretation of Gadamer’s account of Renaissance painting. My point of departure is a brief reference in Truth and Method to Leon Battista Alberti, the Italian Renaissance humanist who developed an influential mathematical theory of perspective in painting. Through an explication of Gadamer’s critique of Alberti and of perspective generally, I argue that what is ultimately at stake in Gadamer’s confrontation with Alberti is Gadamer’s opposition to relativism and subjectivism and his downgrading of the importance (...) of the artistic medium for evaluating the truth-claim of an artwork. Against the theory of perspective, Gadamer contends that artworks make substantive claims to truth to which we interpretatively respond. By emphasizing this theme, our discussion resonates with contemporary “hermeneutical realism.”. (shrink)

Art teaches us not only what to see but what to be.Artists refashion stories with paintbrush and chisel. Their narrations reach back through time to the mysteries of cave painting at Altamira and Lascaux, over seventeen thousand years ago. We no longer know what stories the pictures on those walls were meant to illustrate, but we can try to imagine, even now.1Images speak a different language from words. They tell stories differently. Yet, for many generations, since art history was legitimized (...) as a discipline in American academia, early in the twentieth century2 illustration has been treated with a measure of condescension. Bernard Berenson, among others, intimates, in his Italian Painters of the Renaissance.. (shrink)

Serlio achieved fame as an architect and the author of seven books on architecture, but his activities as a painter are hardly known. The recently discovered autograph manuscript reveals his thinking about this 'most noble art': collectively its pages form the introduction to an unfinished treatise on painting. As with his architectural discourse, Serlio's approach to writing about painting is entirely practical. In no sense a humanist reflection on the subject of art, the work was planned as an illustrated manual (...) and pedagogical tool for the novice painter. The discussion opens with a first section on disegno where the rudiments of drawing are outlined. Very quickly Serlio turns to foreshortening and perspectives on the human figure, emphasising the infinite nuances possible as the body to be represented moves. Such concerns disclose the influence of his mentor Baldassare Peruzzi and association with other members of Raphael's studio. As presented in this manuscript, the manual may have graphically resembled Dürer's Vier Bücher in its printed form, but the rules of disegno respect the Italian workshop tradition as we know it from Carlo Urbino's Le regole del disegno and the Leonardesque heritage. Serlio's projected volume of painting instruction may be regarded as a first literary experiment—a precursor to his later illustrated books on architecture. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

Dolce's Dialogo della pittura first appeared in Venice in 1557 and consists of a three-part dialogue between two Venetians, Aretino and Fabrini, on the particular merits of works of art and artists, including Michaelangelo, Raphael, and Donatello.

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris' Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the history (...) and state of the Church and its role in society, is presented here. The Church and the Kingdom is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, The Church and the Kingdom reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben's text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben's four decades of philosophy and critique. This book will be welcomed by Agamben's many readers across the disciplines. (shrink)

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...) expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. In March 2009, Agamben was invited to speak in Paris’ Notre-Dame Cathedral in the presence of the Bishop of Paris and a number of other high-ranking church officials. His resulting speech, a stunningly lucid and provocative look at the history (...) and state of the Church and its role in society, is presented here. _The Church and the Kingdom_ is at once a pointed attack on the institutional structure of the Catholic Church and a theoretical excursus on the concepts of messianic time and economy. Presenting an exegesis of certain key passages in the New Testament, Agamben examines the philology and philosophy at the root of the Church and of its earthly reign. With its examinations of the foundational texts of the Church, which are also the foundational texts of our modern idea of economy, _The Church and the Kingdom_ reveals significant connections and parallel ideologies which are imperative to understanding the current global situation. This edition of Agamben’s text is accompanied by photographs by artist Alice Attie. Made from folded and twisted reproductions of paintings culled from Christian iconography, these works of art evoke the restless challenge that well-characterizes Agamben’s four decades of philosophy and critique. This book will be welcomed by Agamben’s many readers across the disciplines. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. Agamben’s intuition and meditation are fascinating, and not least when he turns his critical eye to the mysteries and contradictions of early religion. _The Unspeakable Girl: The Myth and Mystery of Kore_ is a book of three richly detailed treatments (...) of the myth of Kore. Kore, also called Persephone, and referred to poetically by the Greeks as “the unspeakable girl,” was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. Kore and her story gave rise to a mysterious cult at Eleusis, the site of the well where Demeter mourned her lost daughter. This book opens with an innovative and insightful essay that focuses on the mysterious indeterminacy of the figure of Kore/Persephone—at once a woman and a girl, a virgin and a mother—as well as the attendant divisions of speech and silence, the sacred and the profane, the animal and the human, and the mortal and the divine. Here, tracing these dichotomies, Agamben is in top form, able to articulate paradoxes that in another writer’s hands might be ineffable. In the second and third parts of the book the reader is treated to a series of beautiful paintings by acclaimed artist Monica Ferrando, as well as her translation of crucial Greek and Latin source materials. As a whole, _The Unspeakable Girl_ will not only be welcomed by Agamben’s many readers across the disciplines, but also by enthusiasts of classical mythology in general. (shrink)

The Italian Dominican Ptolemy of Lucca figures among the most significant political theoreticians of the Middle Ages. In his De regimine principum, a continuation of Thomas Aquinas’ De regno, Ptolemy paints a highly original picture of civil happiness. Taking the Roman Republic as his model, Ptolemy praises the “political” government that is presented as a sufficient condition for felicitas civilis, and this through the virtue of its citizens, the balance of its forces, and the harmonious and active collaboration of (...) the various groups that constitute the community. (shrink)

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta (...) con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis. (shrink)

Simone Martini’s panel painting of St Ladislas of Hungary, founder of the Árpád dynasty and a prototypical crusading knight, attests to the transnational character of Filippo Sangineto’s patronage in Santa Maria della Consolazione, Altomonte (Calabria). The attribution to Sangineto, count of Altomonte and seneschal of Provence, has long been debated, but he is agreed to have been a formidable patron with an ambitious plan for Altomonte. Like many Italian royals, aristocrats, cardinals, and merchants, Filippo commissioned artworks to Sienese artists (...) in Avignon. This study’s approach also sheds light on the iconography as the choice of Ladislas can be connected to the Crusade of Smyrna (1343-1345). The article proposes a reconstruction of Santa Maria della Consolazione, with two small, matching polyptychs set against the screen, one by Bernardo Daddi (two wings survive in Altomonte) and the other by Simone, composed of the painting of Ladislas and the Phillips Collection’s Christ on the Cross. (shrink)

Form and Painting. The work process of vase painters in South Italy. A case study at the vases of the Museum für Kunst und Gewerbe Hamburg Mostly ancient Greek vases are subjects of studies of iconographic issues, of association with other archaeological material and of their context. During the researches of the south Italian redfigure vases of the late-classical period for the CVA Hamburg 2 there were recognized some technical details, that had not taken notice of or that were (...) insufficiently differentiated in former researches. This case study exposes in detail the single, one by one succeeding steps of the production of a vase by the potter and the painter. (shrink)

Starting from two paintings by Salvador Dalì (The Enigma of William Tell and Autumnal Cannibalism), the article explores Sigmund Freud and Carl Gustav Jung’s idea of erotic cannibalism. The fear of being eaten is an archetype of the collective unconscious, as fairy tales clearly reveal. Following Jacques Derrida’s reflections, the author suggests that the fear of being eaten is not limited to anthropophagic cultures, because there is a sort of symbolic cannibalism which has to do with the capacity for annihilation. (...) The petrifying gaze of Medusa, described by Jean Paul Sartre, is a good example of this symbolic cannibalism. On the opposite side of the spectrum, compared to the petrifying gaze, we find the recognizing look of a mother toward her child. For the child, the mother embodies the good subject, which is reassuring and nonthreatening (the fairy who stands in contrast to the devouring ogre in fairy tales). Sara Ruddick explicitly refers to this motherhood model in her book Maternal Thinking, where she lays out the methodology for the ethics of care. The maternal, or recognizing gaze, as the opposite of Medusa’s gaze portrayed by Sartre, is well described in a compelling text by the Italian novelist Luigi Pirandello. At the same time, it plays an important role in Georg Wilhelm Friedrich Hegel’s The Phenomenology of the Spirit. Finally, the article returns to Salvador Dalì, showing how in his life, the artist experienced the Other’s gaze in both forms: the objectifying one, represented by the artist’s father (portrayed in The Enigma of William Tell), and the recognizing one, embodied by his partner Gala (portrayed in Autumnal Cannibalism). (shrink)

There is systematic epistemic asymmetry between different centers of art production: we know far more about some (e.g. fifteenth-century Italian paintings) than about others (e.g. fifteenth-century Inca textiles). As long as we are focusing on the social context of the artworks or the artist’s intention, this epistemic asymmetry remains, given that we have vastly more information about the social context of the artworks or the artist’s intention when it comes to ‘Western’ art—again, because of the historically contingent differences in (...) record-keeping and the survival rate of such records. If we want to overcome the epistemic asymmetry between ‘Western’ and ‘Non-Western’ art, we need to look elsewhere. I will argue, using Franz Boas’s work, that we should look for formal features. In order to avoid the epistemic asymmetry that follows from the historically contingent fact that we have more information about some cultures than about others, we need to start our analysis with formal categories. (shrink)

I begin with a Gerhard Richter painting, and I intend to think backward to Leonardo and Dürer. The history of art lies behind us as a great and convoluted landscape, and our task is to deal with it not as its heirs but as its nonimperialist possessors.In this age of replication and of thinking machines, do we not long for a thoroughly secular authenticity? For example, a hatmaker in a northern Italian town who makes, among other things felucce for (...) students, the furnace man who apologizes for how much the new part costs, an unslick politician who can hug people warmly because he genuinely sympathizes with them? What Wordsworth called "genuine feeling," the opposite of the highly processed world of grant... (shrink)

The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond (...) to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art. (shrink)