MARC Record from marc_columbia

LEADER: 04187fam a2200457 a 4500
001 1431491
005 20220602033527.0
008 930601t19941994mauae b 001 0 eng
010 $a 93021895
020 $a0262041391
035 $a(OCoLC)28336964
035 $a(OCoLC)ocm28336964
035 $9AHU8231CU
035 $a(NNC)1431491
035 $a1431491
040 $aDLC$cDLC$dNNC
041 0 $aeng$hfre
050 00 $aNC750$b.D3413 1994
082 00 $a701/.82$220
100 1 $aDamisch, Hubert.$0http://id.loc.gov/authorities/names/n85017265
240 10 $aOrigine de la perspective.$lEnglish$0http://id.loc.gov/authorities/names/n93052422
245 14 $aThe origin of perspective /$cHubert Damisch ; translated by John Goodman.
260 $aCambridge, Mass. :$bMIT Press,$c[1994], ©1994.
263 $a9401
300 $axxiv, 477 pages :$billustrations, plans ;$c28 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
500 $aTranslation of: L'Origine de la perspective.
504 $aIncludes bibliographical references and index.
505 0 $aPt. 1. This Point Assigned by Perspective. 1. At the Crossroads. 2. Perspective, a Thing of the Past? 3. Knowledge and Truth -- Pt. 2. The Prototype. 4. The Tradition. 5. The Question of the Origin. 6. The Monstration. 7. The Painting's Reasons. 8. The View. 9. Geometry Made Real. 10. The Renaissance and the Repetition of the Original -- Pt. 3. Suspended Representation. 11. "Et anticho in prospettiva" 12. Distancing Maneuvers. 13. The Reading at an Impasse. 14. To See Them, You Say, and Describe Them. 15. De prospectita pingendi. 16. The Loci of the Subject.
520 $aIn part a response to Panofsky's Perspective as Symbolic Form, The Origin of Perspective is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of Las Meninas, it is perhaps the first time a structuralist method such as the one developed by Claude Levi-Strauss in The Way of the Masks has been thoroughly and convincingly applied to Western art.
520 8 $aThe task Damisch has set for himself is to refute both the positivist critics, whose approach makes up the bulk of perspective studies and is based on a complete repression of Panofsky's early work, and the current pseudo-avant-gardist position (whether in the field of cinema studies or in literary criticism), which tends to disregard facts and theoretical analysis.
520 8 $aDamisch argues that if a theoretical analysis of perspective is possible, using all the tools of structuralist semiotics, it is only possible in the context of a close look at its appearance in history, beginning with the details of the "invention" of perspective.
520 8 $aIn the first part Damisch reassesses Panofsky's account, considered here as the theoretical starting block. While he appreciates the extraordinary depth of Panofsky's text, Damisch exposes its shortcomings, and prepares to show through various examples that perspective in painting is not simply a matter of verisimilitude, but of thought, the notion of "thought in painting" being at the core of his work.
520 8 $aThe second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness via Jacques Lacan's definition of the "tableau" as "a configuration in which the subject as such gets its bearings.".
520 8 $aIn the third - and most pointedly structuralist - part, Damisch traces the history of the "perspective paradigm," with a full discussion of the theoretical implications of its constitutive moments, in a brilliant analysis of the three known panel paintings of the "ideal City" produced in the quattrocento, in Piero della Francesca's works, in Carpaccio's works, and finally in Velasquez's Las Meninas.
650 0 $aPerspective.$0http://id.loc.gov/authorities/subjects/sh85100171
852 00 $bbar$hNC750$i.D3413 1994
852 80 $bfax$hNC745$iD182
852 80 $bfax$hNC745$iD182