The proliferation of physiognomic theories and practical physiognomic primers in art criticism, aesthetics and visual studies, represents a fundamental bet: how learn to see and read a picture not in iconographic or stylistic field but in expressive and symptomatic and empathic way? As Benjamin remarks, a competent behavior-as connoisseur in visual arts, or a detective in crime story, and so on by Carlo Ginzburg’s actors of so called evidential paradigm for the humanities-is really hard to be easily legitimate with a post-aura et inter-medial matter. But physiognomic behavior still survives and he is very much operative in finding analogies and symptoms in spite of never having become explicit theory. Such this paper helps us to break out of the fruitless opposition between semiotics and hermeneutic, seeing and reading, picture-still or moving, or living being- and text or verbal, expression and information, and so on. The test-case is a surrealistic painting of a so philosophical artist as Magritte, Les Jours gigantesques (1928), analyzed with artistic and literary reference points that so pervasively enrich it.
Impronte d'anima. Espressione e figuralità in pittura
FIMIANI, Filippo
2011-01-01
Abstract
The proliferation of physiognomic theories and practical physiognomic primers in art criticism, aesthetics and visual studies, represents a fundamental bet: how learn to see and read a picture not in iconographic or stylistic field but in expressive and symptomatic and empathic way? As Benjamin remarks, a competent behavior-as connoisseur in visual arts, or a detective in crime story, and so on by Carlo Ginzburg’s actors of so called evidential paradigm for the humanities-is really hard to be easily legitimate with a post-aura et inter-medial matter. But physiognomic behavior still survives and he is very much operative in finding analogies and symptoms in spite of never having become explicit theory. Such this paper helps us to break out of the fruitless opposition between semiotics and hermeneutic, seeing and reading, picture-still or moving, or living being- and text or verbal, expression and information, and so on. The test-case is a surrealistic painting of a so philosophical artist as Magritte, Les Jours gigantesques (1928), analyzed with artistic and literary reference points that so pervasively enrich it.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
