A Theory of /Cloud/

A Theory of /Cloud/ : Toward a History of Painting

4 (23 ratings by Goodreads)
By (author)  , Translated by 

Free delivery worldwide

Available. Dispatched from the UK in 2 business days
When will my order arrive?

Description

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.
show more

Product details

  • Paperback | 329 pages
  • 152 x 229 x 19.56mm | 449g
  • Palo Alto, United States
  • English
  • REV
  • 0804734402
  • 9780804734400
  • 221,240

Flap copy

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author's basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud.
On a literal level, this could be represented by the absence of the sky, as in Brunelleschi's legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.)
This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.
show more

Back cover copy

"First published in 1972, this book is perhaps the first and in many ways still one of the most challenging attempts to apply a consistent semiotic theory to the development of perspectival art from the Renaissance to the present day. By no means a period piece, it is a brilliant and systematic interaction that touches some of the most crucial features of the Western tradition."--Stephen Bann, University of Bristol
show more

Review quote

"First published in 1972, this book is perhaps the first and in many ways still one of the most challenging attempts to apply a consistent semiotic theory to the development of perspectival art from the Renaissance to the present day. By no means a period piece, it is a brilliant and systematic interaction that touches some of the most crucial features of the Western tradition."-Stephen Bann, University of Bristol
show more

About Hubert Damisch

Hubert Damisch teaches at the Ecole des Hautes Etudes en Sciences Sociales, Paris. Among his books published in English are Skyline: The Narcissistic City (Stanford, 2001) and A Childhood Memory by Piero della Francesca (Stanford, 2001).
show more

Rating details

23 ratings
4 out of 5 stars
5 39% (9)
4 35% (8)
3 17% (4)
2 4% (1)
1 4% (1)
Book ratings by Goodreads
Goodreads is the world's largest site for readers with over 50 million reviews. We're featuring millions of their reader ratings on our book pages to help you find your new favourite book. Close X