What we don't see

What we don't see


Basic information
The time of publication:2007年6月
Press:Peking University press
Author:Daniel Arasse
Pages:162
Translator:He Qian
BookTitle:What we don't see
Summary of contents
Daniel Alas, born in 1941 in Paris, is a famous contemporary western art historian and Italy literature and art research. He studied in France in the higher normal school, later for the Rome French school members, and served as the French higher academic research and works very rich, including the "details, in order to establish a close to the history of painting", "style", "Renaissance" Leonardo Da Finch "," Italy news "and" God figure Anselm Kiefer "etc.. Alas's research on painting, especially in Italy in sixteenth Century and seventeenth Century, works of art. In addition, he also paid attention to, the seventeenth Century Holland school and the eighteenth Century French painting, and in the later years of the study of contemporary western art. Although Alas's research interests are widely, but the understanding of the works, but never made the so-called "interpretation" deceived the work itself. Alas's exquisite art history study place, because he always ignored or unnoticed detail, reveal the history and character of fuzzy truth. Dong Qiang, the French Department of Peking University Professor, doctoral tutor. In 1988 he went to study in France, lived in Paris for 12 years, he world literature master Kundla. In 1955 the first to introduce the cooperation of France Press "Chinese culture for the purpose of the Chinese blue". In 1977 to become foreign writers in French writing, the same year, ph.d.. Held in Paris in 1998 sixth of personal photography exhibition "through the Chinese", "three people in 2000 to participate in the exhibition in Paris District third". The French Department of Peking University since 2001. The main works are: French bilingual collection "the hands of the distance", French poetry "relaxed hand", the modern poetry and painting "French monograph" Henry Mikan, French fairy tales of "Wan night's dream" (co authored), monograph "Liang Zongdai: through symbolism". He devoted to the translation of French science and art books, including "the art of fiction", "Baudelaire", "cloud theory: in order to establish a new history of painting" (Taiwan, 2000), "the 1500 western visual art history". Is currently presided over the translation of Western painting "dictionary". What Chien, Peking University undergraduate and master's of French literature after graduation, went to Canada to Quebec University of Montreal Department of art history research in the history of Western art and contemporary art, the main research direction for the contemporary art, art sociology trend and western contemporary art theory, but also the culture and Western culture theory research. 
Author intro
Dear Qiu Li Ya honey Qiu Li Ya: this letter is a little too long, I'm afraid would be astonished, and even make you unhappy. I hope you don't angry, I just want to write this letter. As I mentioned, I always wondered, why sometimes you see the way of painting, but is not to see the painter and works to show you. We have a passion for painting, but in some works, why our interpretation is separated by numerous hills and streams? I never claimed that work can only express a meaning, also don't believe that there is only one "correct" interpretation, that is the view of Gombrich, you must know how I feel. My intimate than these, that barrier but you give yourself to set up (a word, citations and external reference constitutes a barrier). Sometimes, you seem to have put it erected between works and you, like a layer of filter, make you from work light burns, while also maintaining the thinking habits, and our school was set up in the academic circles these habits of thought. This is not the first time we disagree, but this time I will write to you what. My intention is not to persuade you, just want you to think about, perhaps can shake the better you seem to doubt, but in fact blind your eyes. I put Zu Qi (Zucchi) of the "Cupid and" (Psycheet Cupidon) aside. I heard about your interpretation of the last month, can you imagine how much I have something to talk with you, but I'm afraid I have to find another time. Now, I just want you to be Toretto's "Vulcan caught Venus and Mars" (Mars et Venus surpris par Vulcain) interpretation. Many times you are absolutely right, I see no see. 
Catalog
One, Chinese version one or two, version two or three, Chinese dear Qiu Li Ya four, snail's eyes five, black eyes, green hair six were seven, eight, master box in the women's eyes @##@ translator.
Author Daniel Alas (Daniel Arasswz) through six fictional small help, descriptive language, question the fact of what's called visible in his paintings. From Velasquez (Velazquez) to Titian (Titien), from Bruegel (Bruegel) to Tintoretto (Tintoret), the author leads us into a series of how to "see" works of visual adventure. The reference books have one thing in common, namely the painting itself. We are obsessed with work, but also know, painting art to show to our things, we do not see the. We could not see what! Of course, this is completely negative nature also has other meaning. Daniel Alas is one of the most outstanding art historian. His article vivid language free, be full of wit and humour, the discussion under the relaxed atmosphere of painting art through the centuries to convey to our endless knowledge and imagination. 
Chapter abstract
The works of Alas, is our understanding of western contemporary art criticism to introductory book. More importantly, in such a keen vision inspired, so explain profound theories in simple language, exciting style of driving, we couldn't help to enter the game, own view, and is happy to see. -- Dong Qiang, six text the French Department of Peking University Professor, doctoral tutor the aggregation, analysis of fresh style, mainly fall into the "look" of the importance that. The analysis also allows us to art history have studied works and artists have new understanding. "What we don't see the one's own knack in", is reflected in the art historian of history: he can do a job with skill and ease grasp through several worldJi, see the artists really wants to show us. -- Jean-Philippe Uzel, a professor at University of Quebec in Montreal, Canada, Department of art history
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