Entre fac-similé et haute gravure

L’auteur tient à remercier le Centre canadien d’architecture, où il a passé deux mois comme Senior Mellon Fellow en 2003 et qui lui a permis d’étudier précisément Le Magasin pittoresque des années 1830. Fig. 1. Ch. Girardet, gravure sur bois réalisée d’après une estampe de J. G. Wille, elle-même gravée d’après l’œuvre peinte de G. Dou, La Dévideuse, publiée dans Le Magasin pittoresque, vol. 7, 1839, p. 313, coll. Centre canadien d’architecture, Montréal. Si l’on cherche une définition du mot..

Photographie et reproduction gravée

Fig. 1. A. Lemaître, gravure à l’eau forte, 42 x 55,8 cm, 1831, d’après A.-E. Michallon, La Mort de Roland (Salon de 1819). Au début de son ouvrage consacré aux origines de la photographie, paru en 1955, Helmut Gernsheim suspend son propos sur Nicéphore Niépce, « le premier photographe », pour prévenir le lecteur de termes « inadéquats et même parfois prêtant à confusion » employés par les frères Niépce lorsqu’ils évoquent leurs expériences des années 1820. « Les Niépce, précise-t-il, ont ut..

Photographie et reproduction gravée

Fig. 1. A. Lemaître, gravure à l’eau forte, 42 x 55,8 cm, 1831, d’après A.-E. Michallon, La Mort de Roland (Salon de 1819). Au début de son ouvrage consacré aux origines de la photographie, paru en 1955, Helmut Gernsheim suspend son propos sur Nicéphore Niépce, « le premier photographe », pour prévenir le lecteur de termes « inadéquats et même parfois prêtant à confusion » employés par les frères Niépce lorsqu’ils évoquent leurs expériences des années 1820. « Les Niépce, précise-t-il, ont ut..

Hubert Damisch e Stephen Bann: uma conversa

Discípulo de Merleau-Ponty e Pierre Francastel, Hubert Damisch (1928) marca presença decisiva na renovação epistemológica da disciplina história da arte, franqueando-a às contribuições da psicanálise, da filosofia, da antropologia e da semiótica, e conferindo a ela inédita envergadura teórica, para muito além das demarcações tradicionais de competência que a separam da teoria da arte. Tendo sido músico de jazz na juventude e se dedicado inicialmente ao cinema antes de se voltar às artes visuais, manteve sempre uma perspectiva teórica forte da história da arte, visando um campo diversificado de interesses - a pintura, a estética, a arquitetura, a literatura, a fotografia, o cinema. Autor de livros fundamentais como Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) e La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001), Damish produziu reflexão crucial sobre a lógica da imagem, nos oferecendo uma prática nada convencional da história da arte, marcada pelo livre trânsito metodológico entre a arte do passado e a do presente. Foi professor na École Normale Supérieure e depois na École des Hautes Études en Sciences Sociales. A entrevista a seguir, concedida a um grupo de teóricos e críticos, entre eles, Stephen Bann, historiador da arte e um dos editores da Oxford Art Journal, apareceu, originalmente, em número especial dessa publicação [vol. 28, n. 2, 2005, p. 157-181], tendo resultado de seminário dedicado à obra de Damisch, promovido pela revista, em parceria com a Tate Britain, em outubro de 2003. Além de Stephen Bann, entrevistaram Hubert Damisch Margaret Iversen, John Goodman, Stephen Melville e Yve-Alain Bois.Having studied with Merleau-Ponty and Pierre Francastel, Hubert Damisch (1928) raises as a key figure in the epistemological renewing of the disciplinary field of art history, having opened it up for the contributions of psychoanalysis, philosophy, anthropology and semiotics, while assigning to it a unique theoretical scope – far beyond the traditional jurisdictions that have set apart art history from the concerns of the theory of art. A jazz musician in his youthful, and attracted firstly by film before being driven towards visual arts, Damisch have always claimed a theoretical density for the field of art history, where he would work from a multifarous horizon of interests – painting, architecture, literature, photography, ethnology. He has produced a crucial reflexion on the logics of image, being author of referential studies on the subject, such as Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) and La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001). His oeuvre shows a singular and unconventional way of dealing with art history, marked by his methodological freedom to move with boldness between the art of the present and the past. Damisch has teached at École Normale Supérieure and afterwards at École des Hautes Études en Sciences Sociales. This interview, given to a group of art historians, theoreticians and art critics, and conducted mostly by the art historian Stephen Bann, editor of Oxford Art Journal, originally appeared in a special issue of this publication [vol. 28, n. 2, 2005, p. 157-181], as a result of a conference dedicated do Hubert Damisch’s work. The conference was promoted by the journal in partnership with Tate Britain, in October 2003. Besides Stephan Bann, the discussions also involved the participation, as interviewers, of Margaret Iversen, John Goodman, Stephen Melville and Yve-Alain Bois

Histoire de l’histoire de l’art en Grande-Bretagne : grandes tendances et nouveaux débats

Stephen Bann | Histoire de l’histoire de l’art en Grande-Bretagne : grandes tendances et nouveaux débats Après l’apport des historiens de l’art européens arrivés en Angleterre dans les années 1930, où en est l’histoire de l’art en Grande-Bretagne ? Pour comprendre l’évolution récente de l’historiographie britannique (ou anglo-saxonne ?), s’est rapidement imposé l’intérêt de traduire l’article de Stephen Bann (« The History of Art History in Britain: a Critical Context for Recent Developments ..

The Evolution Of LMC X-4 Flares: Evidence For Super-Eddington Radiation Oozing Through Inhomogeneous Polar Cap Accretion Flows ?

We present the results of two extensive Rossi X-ray Timing Explorer observations of large X-ray flaring episodes from the high-mass X-ray binary pulsar LMC X-4. Light curves during the flaring episodes comprise bright peaks embedded in relatively fainter regions, with complex patterns of recurrence and clustering of flares. We identify precursors preceding the flaring activity. Pulse profiles during the flares appear to be simple sinusoids, and pulsed fractions are proportional to the flare intensities. We fit Gaussian functions to flare peaks to estimate the mean full-width-half-maximum to be $\sim$68 s. Significant rapid aperiodic variability exists up to a few hertz during the flares, which is related to the appearance of narrow, spiky peaks in the light curves. While spectral fits and softness ratios show overall spectral softening as the flare intensity increases, the narrow, spiky peaks do not follow this trend. The mean fluence of the flare peaks is (3.1 $\pm$ 2.9) $\times$ 10$^{40}$ ergs in the 2.5--25 keV energy range, with its maximum at $\sim$1.9 $\times$ 10$^{41}$ ergs. The flare peak luminosity reaches up to (2.1 $\pm$ 0.2) $\times$ 10$^{39}$ ergs s$^{-1}$, far above the Eddington luminosity of a neutron star. We discuss possible origins of the flares, and we also propose that inhomogeneous accretion columns onto the neutron star polar caps are responsible for the observed properties.Comment: 39 pages (including figures and tables), accepted for publication in Ap

‘It doesn’t reveal itself’: erosion and collapse of the image in contemporary visual practice

The article explores the extent to which ‘pictorial art’ resists legibility, transparency and coherence. The analysis of three artistic case studies, Idris Khan, Maria Chevska and Jane and Louise Wilson, serves to investigate established hierarchies in our perception of visual referents. In the discussion, the article inquires the means of erosion, veiling and dissemblance as ways to critique assumption of the homogeneity of the image. All artists cast a view of the external world by diverting it, defacing it and distancing themselves from the external environment. However, the distancing is never disconnected from the everyday and never succumbs to abstraction. The article argues that the crisis of the image offers a productive framework that allows artists to draw attention to the absence of logical structure and the instability of the visual sign