Hubert Damisch
Datos Biográficos
| ID | 261091 |
|---|---|
| NOMBRE | Hubert Damisch |
| NOMBRES | Hubert |
| APELLIDO | Damisch |
| FIRMA | DAMISCH H |
| AFILIACIONES | Cornell University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 36 |
| TOTAL DE CITAS | 19 |
| TOTAL COMO AUTOR | 36 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1960 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
La imagen en el cuadro
Como colofn a estas breves observaciones sobre el destino de las imgenes, su desaparicin, pero tambin su regreso, su circulacin, recurrir al testimonio de Ernst Jnger:Cuando las imgenes desaparecen, deben ser sustituidas por otras imgenes, de lo contrario se corre el riesgo de perderlas 2 .El problema es saber a qu contexto, individual o colectivo, se refiere este aserto, y qu hay que entender aqu por "imgenes", as como por su "desaparicin", por …
Narciso barroco
O que é pintar? O que é um quadro? Como inscrever a singularidade de uma obra sob a afirmação genérica de "arte" ou sob o título de um estilo? Para Alberti, que vê em Narciso "o inventor da pintura", pintar é "abraçar a superfície da fonte". Transpassado por essas interrogações, o texto analisa pelo método comparativo duas obras que têm em comum o tema (ou motivo) da fábula de Narciso: o quadro Narciso, atribuído a Caravaggio, e Eco e Narciso, de…
My Formative Years
A pretty perilous and challenging exercise, especially for someone like me who indulges in thinking of himself, in a somewhat defensive and questionable way, I confess, as having no specific field or period of competence and evading any precise definition or classification in academic terms. As a matter of fact, I have been lucky enough to spend most of my life in an institution, the EHESS [École des hautes études en sciences sociales], which, in…
Staking the Subject
Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of "the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation." To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1…
Letters, 1972-1973
Between January 1972 and December 1973 French art-historian/philosopher Hubert Damisch and American art-historian Meyer Schapiro exchanged forty-four letters. During this short period, the two scholars discussed many issues concerning the state of art history and its relationship to semiotics and psychoanalysis. A recurring topic was Freud's famous lapse of memory concerning the name of the Renaissance artist Luca Signorelli-what to make of the l…
Sign/or/Sigm
In December 1972, French art-historian/philosopher Hubert Damisch, who was a senior fellow of the Society of the Humanities at Cornell, gave a public lecture on the Freud-Signorelli case, which is published here for the first time. Damisch discusses the theoretical montage proposed by Freud and attempts to evaluate the impact of the language games analyzed by the psychoanalyst for the study of visual objects. Moreover, the case allowed Damisch to…
Uma mulher, portanto
Escrito em 1992, o ensaio discute a obra de Manet, Le déjeuner sur l'herbe, exposta no Salon des Refusés de 1863, um divisor de águas no universo da arte moderna que assinala uma mudança radical na abordagem do nu feminino e da ideia do belo na tradição artística. Conforme nota o autor, embora a pintura empreste a narrativa do célebre Julgamento de Páris, gravura de c. 1510-20, na qual Marcantonio Raimondi transcrevera obra de Rafael, Manet provo…
Hubert Damisch e Stephen Bann
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 inicialme…
Writings and correspondence
This dossier comprises a selection of the correspondence between Hubert Damisch and Jean Dubuffet as well as six essays written by Damisch on Dubuffet between 1962 and 1985. Both the correspondence and texts are here published in English for the first time. “Jean Dubuffet and the Awakening of Images” (1962), Damisch's second article on Dubuffet, discusses the relationship between material object and idea, or painting and image, in Dubuffet's art …
Circuits
Hors cadre
Il n'y a plus de verite du tout, puisque vous arrangez les faits comme il vous plait.- J'arrange les faits de facon a les rendre plus conformes a la verite que dans la realite [...]Andre Gide Alors que se multiplient les theories des images et que l'idee d'une « pensee des images » s'est progressivement imposee, il nous a semble important de rencontrer Hubert Damisch. On sait le role critique decisif qui a ete le sien dans la redefinition epistem…
Le maître, c'est lui
Tentative de remise en activité de la machinerie conçue par Freud pour rendre compte de l’oubli du nom du peintre Signorelli, auteur des fresques d’Orvieto, sur lequel s’ouvre la Psychopathologie de la vie quotidienne . L’analyse des matériaux résiduels, l’IO accroché au nom de Boltraffio et le ELLI qui fait retour à travers celui de Botticelli, en appelle à un jeu d’opposition entre LUI, le visuel, et MOI, le verbal, qui se résout dans le nom ou…
The Inventor of Painting
First published in vol. IV of Albertiana (2001), pp.165–187, the journal of the Société Internationale Leon Battista Alberti, Hubert Damisch's ‘L'Inventeur de la Peinture’ reconsiders two descriptions of the mythic origins of the art of painting found in Alberti's On Painting (the ‘vernacular’ Italian version) and Pliny's Natural History. Although Alberti's text is clearly indebted to his ancient predecessors', he folds in, for purely theoretical…
Remarks on Abstraction
February 01 2009 Remarks on Abstraction Hubert Damisch Hubert Damisch Hubert Damisch teaches at the École des Hautes Études en Sciences Sociales, Paris. Among his books are Skyline: The Narcissistic City (2001), A Childhood Memory by Piero della Francesca (2001), and A Theory of Cloud: Toward a History of Painting (2002; all published by Stanford University Press). Search for other works by this author on: This Site Google Scholar Author and Arti…
"Marcel Mauss, l'esthétique et le "phénomène social total
Pas de programme, mais, puisqu’il me revient d’introduire ce séminaire, une question, que je poserai pour l’heure dans ces termes, tout provisoires, en espérant que nos travaux nous conduiront à la formuler de façon plus satisfaisante : quelle part peut, ou doit être faite à l’esthétique, quoi qu’on entende par là, dans le cadre de quelque chose comme une anthropologie ? À en poser ainsi la question, on voit bien que la réponse ne saurait aller e…
Marcel Mauss, l'esthétique et le « phénomène social total
Hubert Damisch and Stephen Bann
Revised and corrected by Hubert Damisch, January 2005 B. Let me begin recalling that it is nearly thirty years since I began to be involved publishing your work in English. The very first occasion was when I published a translation of your article on Klee's ‘Equals Infinity' in the Visual Poetics number of 20th Century Studies, in 1976. It was also around then that I read Theory of /cloud/, which has now finally been brought out in translation by…
Eight Theses For (or Against?) A Semiology of Painting1
Journal Article Eight Theses For (or Against?) A Semiology of Painting Get access Hubert Damisch Hubert Damisch Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 2, June 2005, Pages 257–267, https://doi.org/10.1093/oxartj/kci025 Published: 01 June 2005
Ledoux with Kant
L'Autre “Ich,” L'Autriche— Austria, or the Desire for the Void
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
Robinsonnades II
Robinsonnades I
We need to imagine Robinson Crusoe on his island (keeping in mind that we will have dealt with this character from our earliest years when, already trapped in the maze of language and culture, we were caught up in the solipsistic mood that leads children to wrap themselves inside their monologue to the point of playing at erecting a miniature universe, each according to his or her taste and sense of scale, where no one is allowed to enter or inte…
L' origine de la perspective
Une reflexion approfondie sur la perspective comme objet de connaissance et objet de pensee. Du dispositif de Brunelleschi aux Menines de Velazquez, l'histoire de la perspective, constituee au Quattrocento, se revele plurielle. H. Damisch montre comme la science rencontre alors le theâtre.
L’anthropologue et le contemporain
Five Notes for a Phenomenology of the Photographic Image
1. Theoretically speaking, is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light. This definition, we note, neither assumes the use of a camera, nor does itimply that the image obtained is that of an object or scene from the external world. We know of prints obtained from film directly exposed to a light source. The prime value of this type of endeavor i…
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
Uma mulher, portanto
Escrito em 1992, o ensaio discute a obra de Manet, Le déjeuner sur l'herbe, exposta no Salon des Refusés de 1863, um divisor de águas no universo da arte moderna que assinala uma mudança radical na abordagem do nu feminino e da ideia do belo na tradição artística. Conforme nota o autor, embora a pintura empreste a narrativa do célebre Julgamento de Páris, gravura de c. 1510-20, na qual Marcantonio Raimondi transcrevera obra de Rafael, Manet provo…
Hors cadre
Il n'y a plus de verite du tout, puisque vous arrangez les faits comme il vous plait.- J'arrange les faits de facon a les rendre plus conformes a la verite que dans la realite [...]Andre Gide Alors que se multiplient les theories des images et que l'idee d'une « pensee des images » s'est progressivement imposee, il nous a semble important de rencontrer Hubert Damisch. On sait le role critique decisif qui a ete le sien dans la redefinition epistem…
"Marcel Mauss, l'esthétique et le "phénomène social total
Pas de programme, mais, puisqu’il me revient d’introduire ce séminaire, une question, que je poserai pour l’heure dans ces termes, tout provisoires, en espérant que nos travaux nous conduiront à la formuler de façon plus satisfaisante : quelle part peut, ou doit être faite à l’esthétique, quoi qu’on entende par là, dans le cadre de quelque chose comme une anthropologie ? À en poser ainsi la question, on voit bien que la réponse ne saurait aller e…
Hubert Damisch and Stephen Bann
Revised and corrected by Hubert Damisch, January 2005 B. Let me begin recalling that it is nearly thirty years since I began to be involved publishing your work in English. The very first occasion was when I published a translation of your article on Klee's ‘Equals Infinity' in the Visual Poetics number of 20th Century Studies, in 1976. It was also around then that I read Theory of /cloud/, which has now finally been brought out in translation by…
L'Autre “Ich,” L'Autriche— Austria, or the Desire for the Void
Painting as Model
Figuration et représentation
Les problèmes techniques autant que théoriques posés par la figuration, sur l'écran plastique à deux dimensions, d'une apparition ou d'une ascension miraculeuses, d'un transport aérien, voire d'une assemblée céleste, de tels problèmes n'ont rien de secondaire ni d'accessoire au regard de l'entreprise où se résumerait, suivant une tradition fortement établie, l'apport de la Renaissance au développement de l'art et de la civilisation occidentale : …
L'œuvre des Churriguerra
L'Histoire a voulu que nous ne puissions considérer l'oeuvre des Churriguera qu'à travers l'écran du concept générique de ' churrigueresque '. Mais n'en est-il pas de même de tous les artistes qui ont prêté leur nom, soit à un style ou à un mouvement esthétique dont ils apparaissent comme les initiateurs, soit à une série d'oeuvres dont on entend marquer par là l'unité profonde ? Quelle méthode moins arbitraire, cependant, parmi toutes celles don…
Le Musée
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Eiffel le Constructeur
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Histoire et typologie de l'architecture ; le problème du château
Viollet-le-Duc a consacré au problème du château un article, demeuré célèbre, du Dictionnaire de l'architecture française. Pour ingrat qu'il soit à l'égard du travail du grand théoricien, dont il ne fait pas mention, le livre de François Gébelin sur Les châteaux de France n'en mérite pas moins de prendre place à sa suite, parmi les meilleurs ouvrages consacrés à un sujet rebattu entre tous. Ce n'est pas à dire que ce spécialiste de la Renaissance…
Notes Breves et Prises de Position
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Figuration et représentation
Les problèmes techniques autant que théoriques posés par la figuration, sur l'écran plastique à deux dimensions, d'une apparition ou d'une ascension miraculeuses, d'un transport aérien, voire d'une assemblée céleste, de tels problèmes n'ont rien de secondaire ni d'accessoire au regard de l'entreprise où se résumerait, suivant une tradition fortement établie, l'apport de la Renaissance au développement de l'art et de la civilisation occidentale : …
Five Notes for a Phenomenology of the Photographic Image
1. Theoretically speaking, is nothing other than a process of recording, a technique of inscribing, in an emulsion of silver salts, a stable image generated by a ray of light. This definition, we note, neither assumes the use of a camera, nor does itimply that the image obtained is that of an object or scene from the external world. We know of prints obtained from film directly exposed to a light source. The prime value of this type of endeavor i…
The Duchamp Defense
At a very early age Marcel Duchamp became interested in chess. It was, he told his biographer Arturo Schwarz, his two brothers-Jacques Villon and Duchamp-Villon--to whom he owed this initiation at age thirteen, the same moment as his introduction to painting. We know an etching by Villon, dated 1904, which represents the young Marcel playing a game of chess with his sister Suzanne. A few years later, in 1910, the first large oil that Duchamp pain…
"Reading Delacroix's "Journal
To someone reading Delacroix's Journal, whether for the first time or returning to it after twenty years, as I have just done, I suggest the following experiment: read it not by dipping into it casually, but as it should be read, from start to finish (perhaps this pertains even more to second reading, as we shall see). Allow the text to unfold, page by page, not seeking out the high points, even though this may mean that, accustomed as we may thi…
Painting as Model
Où en est l'histoire de l'art en France
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
Robinsonnades II
Robinsonnades I
We need to imagine Robinson Crusoe on his island (keeping in mind that we will have dealt with this character from our earliest years when, already trapped in the maze of language and culture, we were caught up in the solipsistic mood that leads children to wrap themselves inside their monologue to the point of playing at erecting a miniature universe, each according to his or her taste and sense of scale, where no one is allowed to enter or inte…
L'Autre “Ich,” L'Autriche— Austria, or the Desire for the Void
Ledoux with Kant
Hubert Damisch and Stephen Bann
Revised and corrected by Hubert Damisch, January 2005 B. Let me begin recalling that it is nearly thirty years since I began to be involved publishing your work in English. The very first occasion was when I published a translation of your article on Klee's ‘Equals Infinity' in the Visual Poetics number of 20th Century Studies, in 1976. It was also around then that I read Theory of /cloud/, which has now finally been brought out in translation by…
Eight Theses For (or Against?) A Semiology of Painting1
Journal Article Eight Theses For (or Against?) A Semiology of Painting Get access Hubert Damisch Hubert Damisch Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 2, June 2005, Pages 257–267, https://doi.org/10.1093/oxartj/kci025 Published: 01 June 2005
"Marcel Mauss, l'esthétique et le "phénomène social total
Pas de programme, mais, puisqu’il me revient d’introduire ce séminaire, une question, que je poserai pour l’heure dans ces termes, tout provisoires, en espérant que nos travaux nous conduiront à la formuler de façon plus satisfaisante : quelle part peut, ou doit être faite à l’esthétique, quoi qu’on entende par là, dans le cadre de quelque chose comme une anthropologie ? À en poser ainsi la question, on voit bien que la réponse ne saurait aller e…
Marcel Mauss, l'esthétique et le « phénomène social total
Remarks on Abstraction
February 01 2009 Remarks on Abstraction Hubert Damisch Hubert Damisch Hubert Damisch teaches at the École des Hautes Études en Sciences Sociales, Paris. Among his books are Skyline: The Narcissistic City (2001), A Childhood Memory by Piero della Francesca (2001), and A Theory of Cloud: Toward a History of Painting (2002; all published by Stanford University Press). Search for other works by this author on: This Site Google Scholar Author and Arti…
Le maître, c'est lui
Tentative de remise en activité de la machinerie conçue par Freud pour rendre compte de l’oubli du nom du peintre Signorelli, auteur des fresques d’Orvieto, sur lequel s’ouvre la Psychopathologie de la vie quotidienne . L’analyse des matériaux résiduels, l’IO accroché au nom de Boltraffio et le ELLI qui fait retour à travers celui de Botticelli, en appelle à un jeu d’opposition entre LUI, le visuel, et MOI, le verbal, qui se résout dans le nom ou…
The Inventor of Painting
First published in vol. IV of Albertiana (2001), pp.165–187, the journal of the Société Internationale Leon Battista Alberti, Hubert Damisch's ‘L'Inventeur de la Peinture’ reconsiders two descriptions of the mythic origins of the art of painting found in Alberti's On Painting (the ‘vernacular’ Italian version) and Pliny's Natural History. Although Alberti's text is clearly indebted to his ancient predecessors', he folds in, for purely theoretical…
Circuits
Hors cadre
Il n'y a plus de verite du tout, puisque vous arrangez les faits comme il vous plait.- J'arrange les faits de facon a les rendre plus conformes a la verite que dans la realite [...]Andre Gide Alors que se multiplient les theories des images et que l'idee d'une « pensee des images » s'est progressivement imposee, il nous a semble important de rencontrer Hubert Damisch. On sait le role critique decisif qui a ete le sien dans la redefinition epistem…
Art (27 obras) · Philosophy (19 obras) · Computer Science (13 obras) · Philosophy (12 obras) · Humanities (11 obras) · Art history (9 obras) · Visual Culture and Art Theory (8 obras) · Historical and Literary Studies (7 obras) · Literature (7 obras) · Art, Politics, and Modernism (6 obras)