Manet and the object of painting
著者
書誌事項
Manet and the object of painting
Tate Publishing, c2009
- : hbk
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
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  ノルウェー
  アメリカ
注記
Includes index
Translated from a recorded lecture in French, given in Tunis, 1971
内容説明・目次
内容説明
In this encounter between one of the 20th century's greatest philosophical minds and an artist fundamental to our understanding of the development of modern art, Michel Foucault explores Manet's importance in the overthrow of traditional values in painting. Originally delivered in Tunis in 1971 as part of a conference on Manet, this powerful critique takes the form of a commentary on thirteen of Manet's paintings. It was written at a time when Foucault was both intellectually and politically engaged, taking part in struggles in the streets as well as on the page. For Foucault, the connection between visual art and power was clear. Far from painting being an insular and bourgeois pursuit, he saw it as a place where power's insidious workings were disclosed and therefore challenged. At the same time, this work is part of the larger history of representation that informs all Foucault's major works, a stage in the development of his concern for le regard or the gaze, which was to become a major feature of 20th century French phenomenology.
In paintings like Un Bar aux Folies-Bergere, Manet used the mirror to imply the multiple gaze of the waitress, the viewer and the man at the bar who may or may not be the artist, to produce a new, self-conscious kind of painting, or painting-object, that was about painting itself. It was these qualities that fascinated Foucault, who used Manet as a basis for a wider exploration of culture. Translated into English for the first time with a newly commissioned introduction by leading French critic Nicolas Bourriaud and a note on the translation by Matthew Barr, this is a major contribution to the fields of both modern philosophy and art history.
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