Sublime Poussin by Louis Marin (English) Paperback Book

Description: Sublime Poussin by Louis Marin "[Marin's] mandarin prose, as foreign to our age of mass culture as Poussin's paintings, seems as self-sufficient as the strangely in accessible art it so beautifully describes."—Common Knowledge FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description "Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin (1594-1665), painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary.At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime.Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation. Back Cover "[Marins] mandarin prose, as foreign to our age of mass culture as Poussins paintings, seems as self-sufficient as the strangely in accessible art it so beautifully describes."-Common Knowledge Flap "Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin (1594-1665), painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary. At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime. Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation. Author Biography Martin was Directeur dEtudes at the Ecole des Hautes Etudes en Sciences Sociales, Paris. Table of Contents Contents PART I: 1 2 3 4 5 PART II: 6 7 8 9 10 Appendix 1: Appendix 2: Appendix 3: Review "[Marins] mandarin prose, as foreign to our age of mass culture as Poussins paintings, seems as self-sufficient as the strangely in accessible art it so beautifully describes." - Common Knowledge Long Description "Art history and art theory are inseparable. A history of art can be achieved only through the simultaneous construction of a theory of art." These words of the eminent scholar and critic Louis Marin suggest why he considered the paintings and the writings of Nicolas Poussin (1594-1665), painter and theoretician of painting, an enduring source of inspiration. Poussin was the artist to whom Marin returned most faithfully over the years. Since Marin did not live to write his proposed book on Poussin, the ten major essays in this volume will remain his definitive statement on the painter who inspired his most eloquent and probing commentary. At the center of Marins inquiry into Poussins art are the theory and practice of "reading" paintings. Rather than explicate Poussins work through systematic textual and iconographic analysis, he sets out to explore a cluster of speculative questions about the meaning of pictorial art: Can painting be a discourse? If so, how can that discourse be deciphered? Marins horizon for interpreting Poussin depends more on the concepts of aesthetic philosophy and the insights of cultural history than on an account of the painters career or his relationship with his artistic predecessors. For example, he positions several of Poussins best-known landscapes with respect both to French seventeenth-century debates on the question of the sublime and to the philosophical tradition of reflection on the sublime. Among the topics Marin studies are the tempest as a major figure of the sublime in Poussins work, the presence of ruins in the paintings, Poussins use of the concept of metamorphosis, and the frequent presence of sleeping bodies in the work. The Poussin who emerges in these essays is preeminently a philosopher-artist whose painterly discourse embodies the limits of thought and of representation. Review Quote [Marins] mandarin prose, as foreign to our age of mass culture as Poussins paintings, seems as self-sufficient as the strangely in accessible art it so beautifully describes." Details ISBN0804734771 Author Louis Marin Short Title SUBLIME POUSSIN Pages 267 Publisher Stanford University Press Series Meridian: Crossing Aesthetics (Paperback) Language English Translator Catherine Porter ISBN-10 0804734771 ISBN-13 9780804734776 Media Book Format Paperback DEWEY 759.4 Illustrations Yes Year 1999 Publication Date 1999-06-30 Imprint Stanford University Press Place of Publication Palo Alto Country of Publication United States Translated from French Birth 1931 Edition 1st Residence FR Death 1992 DOI 10.1604/9780804734776 Audience Professional and Scholarly UK Release Date 1999-06-01 AU Release Date 1999-06-01 NZ Release Date 1999-06-01 US Release Date 1999-06-01 We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! TheNile_Item_ID:159345418;

Price: 55.44 AUD

Location: Melbourne

End Time: 2025-02-03T17:27:16.000Z

Shipping Cost: 9.6 AUD