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.
Introduzione alla pittura olandese
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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
