DAMISCH THEORY OF CLOUD PDF

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. 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.

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Hubert Damisch. 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.

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A Theory of /Cloud/

To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Ian Verstegen. Every chapter—and this is the that fell into place and the stepwise dures for signifying different realms.

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A Theory of /Cloud: Toward a History of Painting

Stanford Univ. Press, Stanford, CA, U. Trade, paper. No one can write philosophy-imbued history like the French. As it is sometimes a chore to read for non-native speakers, a translation of such work is always appreciated. Wearing his structural-semiotic methodology on his sleeve, Damisch seeks simply to understand the sign-quality of the cloud, which he holds between slashes to remind the reader that clouds per se are not his interest.

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Hubert Damisch. 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.

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Photography by Hannah Elisabeth. Clouds are not spheres, mountains are not cones, coastlines are not circles, and bark is not smooth. What does art history have to tell us about the cloud of volcanic ash that obscured the sky bringing European air space to a weeklong standstill? In the history of Western painting the cloud is a recurrent element that as the visionary French philosopher Hubert Damisch contends is the most fleeting of all masterpieces: they can be found everywhere from Giotto to Constable and onwards to Modernism. It vanishes within the graphic system only to discover itself again.

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