This is not just a painting : an inquiry into art, domination, magic and the sacred
著者
書誌事項
This is not just a painting : an inquiry into art, domination, magic and the sacred
Polity Press, c2019
- : hardback
- タイトル別名
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Ceci n'est pas qu'un tableau : essai sur l'art, la domination, la magie et le sacré
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注記
"First published in French as Ceci n'est pas qu'un tableau. Essai sur l'art, la domination, la magie et le sacré (c) Éditions La Découverte, Paris, France, 2015"--T.p. verso
Includes bibliographical references (p. [515]-536) and index
内容説明・目次
内容説明
In 2008, the Musee des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that had been sold as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musee des Beaux-Arts de Lyon for 17 million euros.
What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred.
Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes - with its distinctive institutions and experts - that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority.
By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art.
目次
Acknowledgements
Introduction. Unravelling a canvas
Flights into Egypt: trajectories, rivalries and controversies
Breaking away from legends
Categorised and classified paintings and retrospective illusions
The real: between material continuity and social discontinuity
The objects of research: status, values and modes of behaviour
Pulling on a loose thread
Coda
Book 1. History, domination and social magic
Chapter 1. Self-evident facts and foundations of beliefs
Chapter 2. Domination and social magic
The objective forms of domination
A problem hidden beneath the fragmentation of points of view
Capital or symbolic effects?
Outline of a general theory of the magic of power
Chapter 3. Linked oppositions: dominators/dominated and sacred/profane
A history of the linked transformations of power and the sacred
Magic and power in stateless societies
Magic and power in State societies
The high and the low
Political fictions or how man created God in his image
Struggles for the appropriation of the sacred
Secularisation, sanctification and the sacred foundations of all society
Book 2. Art, domination, sanctification
Chapter 4. The expansion of the domain of the sacred: the emergence of art as an autonomous domain, separate from the profane.
Poets and artists, sovereigns and demiurges
The history of a collective sanctification
From relics to works of art
The separation of art and life
Admire first, interpret later
Beneath admiration, domination
The magic of paintings
Fables and hoaxes
Copies and forgeries
Chapter 5. Authentication and attribution
Where to look for scientific truths?
The expert: doing things with words
Performative act I: the catalogue raisonne
Performative act II: the exhibition
Attributions and disattributions: controversies and changes of opinion
The history and logic of attributionism
Science in the service of the sacred
Taking the 'obvious' out of the authentic
Book 3. On Poussin and some Flights into Egypt
Chapter 6. Sublime Poussin: master of French classicism
Journey of an artist against time and tide: independence and creative freedom
Painter-philosopher and artist
On Poussin's success
To art, a nation's gratitude
Chapter 7. The fabulous destiny of paintings attributed to Nicolas Poussin
Links, associations and changes in status
Histories of paintings
The painting of a great painter whose talent is declining
On the trail of an admirable painting
Three canvases resurface
A growing controversy
The comparison test
The behind the scenes activity of the gallery owners
The first public recognition of the 'Pardo' version
New developments: the request for the annulment of the 1986 sale
The acquisition of a national treasure
In search of sponsors
The magic of a masterpiece
The end of a controversy
The conditions of enchantment and disenchantment
A version without an expert
Chapter 8. Poussin, science, law and the art market
Poussin in the laboratory
Analyses of the 'Piasecka-Johnson' version
Analyses of the 'Pardo-MBA de Lyon' version
Poussin in court
Erreur sur la substance
A determining precedent: the case of Olympos and Marsyas or the 'Saint-Arroman case'
The trial of the 'other Poussin affair'
The price of a painting
Chapter 9. How each person plays their game
Art historians: who has the eye?
Sir Anthony Blunt (1907-1983)
Sir Denis Mahon (1910-2011)
Jacques Thuillier (1928-2011)
Pierre Rosenberg (1936-)
The gallery owners: playing (and losing) the game
A museum director playing (and winning) her game
Conclusions
Working outside the fields
At the root of beliefs
Exposing the invisible monster
A fragile learned game
Post-scriptum. The conditions for scientific creation
Notes
Summary of information sources consulted
Bibliography
Supplementary Bibliography
Index
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