| A Theory of the Tache in Nineteenth-Century Painting Contributor(s): Sjåstad, ØYstein (Author) |
|
 |
ISBN: 1472429443 ISBN-13: 9781472429445 Publisher: Routledge OUR PRICE: $152.00 Product Type: Hardcover - Other Formats Published: June 2014 |
| Additional Information |
| BISAC Categories: - Art | History - Romanticism - Art | Techniques - Painting |
| Dewey: 750.18 |
| LCCN: 2014002721 |
| Series: Studies in Art Historiography |
| Physical Information: 0.5" H x 6.14" W x 9.21" (0.99 lbs) 190 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. C zanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology. |