Paul Claudel’s Introduction to Dutch painting, printed in 1935, can be read as a significant departure from the dominant realistic view of Dutch painting, namely by Hegel, Tain and Thoré-Burger, and after. This work has received a strongly philosophical and aesthetical attention by Maurice Merlau-Ponty; Henry Maldiney and Gilles Deleuze, but a too little attention by history of art and art criticism, although Jan Bialostocki calls its author a sensitive interpreter. Following the long tradition of French writers of Salons─Diderot; Baudelaire, Zola and Fromentin─, very close to Valéry’s writings on paintings and relationship between verbal and visual, word and image, always in a critical way into the field of Mallarmé poetics, Claudel focuses abstraction and memory more than iconographic claim, and thermalizes the metaphysical matter of the pictures and depicted fictions.

Claudel e la poetica della pittura

FIMIANI, Filippo
1999-01-01

Abstract

Paul Claudel’s Introduction to Dutch painting, printed in 1935, can be read as a significant departure from the dominant realistic view of Dutch painting, namely by Hegel, Tain and Thoré-Burger, and after. This work has received a strongly philosophical and aesthetical attention by Maurice Merlau-Ponty; Henry Maldiney and Gilles Deleuze, but a too little attention by history of art and art criticism, although Jan Bialostocki calls its author a sensitive interpreter. Following the long tradition of French writers of Salons─Diderot; Baudelaire, Zola and Fromentin─, very close to Valéry’s writings on paintings and relationship between verbal and visual, word and image, always in a critical way into the field of Mallarmé poetics, Claudel focuses abstraction and memory more than iconographic claim, and thermalizes the metaphysical matter of the pictures and depicted fictions.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11386/3437477
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