Eric Michaud
Dados Biográficos
| ID | 358317 |
|---|---|
| NOME | Eric Michaud |
| PRENOMES | Eric |
| SOBRENOME | Michaud |
| ASSINATURA | MICHAUD E |
| AFILIAÇÕES | The Art Institutes |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 17 |
| TOTAL DE CITAÇÕES | 6 |
| TOTAL COMO AUTOR | 17 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1988 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2021 |
| ÍNDICE H | 1 |
As invasões bárbaras ou a racialização da história da arte
The Barbarian Invasions
How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture…
Barbarian Invasions
The total work of art and totalitarianism
All the manifestos for a 'total work of art' after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the uni…
The modern Invention of Barbarians
The history of art started with the myth of Barbarian invasions. Countering the timelessness of Classical art as affirmed by Winckelmann in the middle of the eighteenth century, a new argument arose: The West was propelled into modernity by the Barbarian invasions of the fourth and fifth centuries, as it was converted from paganism to Christianity. The infusion of the new blood of the northern races was seen to have engendered a new art, anti-Rom…
The potent image
Art, État et idéologies aux xixe et xxe siècles
Il fut un temps pas si lointain où s’intéresser à l’histoire politique et à l’histoire sociale de l’art vous faisait courir le risque d’être extradé, comme si les œuvres devaient par magie échapper à toute contingence pour assumer définitivement leur rôle de fétiche. De même, confronter les médias populaires aux œuvres majeures ou les entremêler (comme dans la réalité) semblait déplacé. Or, il s’agissait tout simplement d’écrire une histoire auss…
Barbarian Invasions and the Racialization of Art History
January 01 2012 Barbarian Invasions and the Racialization of Art History Eric Michaud Eric Michaud ERIC MICHAUD is Directeur d'études at the Ecole des hautes études en sciences sociales, Paris. His publications include The Cult of Art in Nazi Germany (transl. Janet Lloyd, Stanford UP, 2004) and Histoire de l'art: une discipline à ses frontières (Hazan, 2005). Search for other works by this author on: This Site Google Scholar Author and Article In…
Le nazisme, un régime de la citation
C’est à Walter Benjamin que l’on attribue généralement cette belle idée que l’histoire est toujours écrite par les vainqueurs. Mais ainsi formulée, cette attribution mérite cependant quelques éclaircissements. Lorsque, dans ses fameuses thèses sur la philosophie de l’histoire écrites durant les premiers mois de l’année 1940, Benjamin affirmait en substance que le travail de l’historiciste, toujours en empathie avec les vainqueurs du passé, bénéfi…
Figures nazies de Prométhée, de l'« homme Faustien » de Spengler, au « Travailleur » de Jünger
On the eve of the national-socialist rise to power, the German right was deeply divided over the issue of technology. In 1931, Oswald Spengler's Man and Technics took the cultural pessimism of his famed Decline of the West yet a step further, heralding the "fatal end" to which "Faustian technics" were inexorably leading. One year later, Ernst Jünger, in The Worker, expounded a "techno-fascism" affirming, on the contrary, his faith in the imminenc…
La construction de l'image comme matrice de l'histoire
À partir du 19 e siècle, l'image est envisagée non plus comme document ou témoignage du passé, mais comme acteur de l'histoire. Tandis que le christianisme avait projeté un futur préformé par l'image du passé, le « nouveau christianisme » des saint-simoniens s'en remet aux artistes, « les hommes à imagination », qu'il place à l'avant-garde de la société pour façonner son avenir : c'est à eux de la passionner pour son bien-être futur et de « trans…
Matters of resistance and acquiescence
L’Art sans frontières is the misleading title bringing together several essays by Thomas W. Gaehtgens. The first part of this book, a fascinating history of the way Berlin’s museums came into being, is actually completely steered by an analysis of the effects of boundaries and their formidable effectiveness. The second part, focusing on encounters made by German artists with French painting from 1848 onward, also highlights the power of boundarie…
Résistances et acquiescements
L’Art sans frontières : c’est sous un titre trompeur qu’ont été regroupés plusieurs essais de Thomas W. Gaehtgens. Passionnante histoire de la formation des musées de Berlin, la première partie de l’ouvrage est en effet tout entière commandée par l’analyse des effets de frontières et de leur efficacité redoutable. La seconde, centrée sur les rencontres d’artistes allemands avec la peinture française depuis 1848, fait elle aussi valoir la puissanc…
Puro presente. Imágenes de los tiempos nazis
Las imgenes de los tiempos nazis tradas al presente nos recuerdan cmo, en nombre de una civilizacin superior, se puede destruir sin culpa.La inmortalidad de un pueblo y la eternidad de su arte, justifica los procesos y los medios, cuales sean, para lograr sus objetivos.E n un momento en que las promesas de felicidad hechas por los defensores de un pro- greso tcnico rpido contrastaban tan violentamente con la incertidumbre que pesaba sobre el futu…
National Socialist Architecture as an Acceleration of Time
Van Gogh, or The Insufficiency of Sacrifice
A seven-year interval separates the two texts Georges Bataille wrote on Gogh. Sacrificial Mutilation and the Severed Ear of Vincent was published in Documents, no. 8, in 1930; Van Gogh as Prometheus appeared in the first issue of Verve, in December 1937. Despite the relatively long lapse between their respective dates of publication, these two texts are successive, the latter developing in three brief, luminous pages what the first had elaborated…
The Ends of Art According to Beuys
Joseph Beuys wanted to make instrument of resurrection, for unification of man. The proposal is simple. It enlisted enthusiastic adherence of his disciples and mockery of his detractors, but never indifference of Germans. In his own country his death was hailed as disappearance of a phenomenon; he had been compared to Duirer. The desire to spread Christianity's faith in possibility of each human being's rebirth excited this apostle of the expande…
La construction de l'image comme matrice de l'histoire
À partir du 19 e siècle, l'image est envisagée non plus comme document ou témoignage du passé, mais comme acteur de l'histoire. Tandis que le christianisme avait projeté un futur préformé par l'image du passé, le « nouveau christianisme » des saint-simoniens s'en remet aux artistes, « les hommes à imagination », qu'il place à l'avant-garde de la société pour façonner son avenir : c'est à eux de la passionner pour son bien-être futur et de « trans…
National Socialist Architecture as an Acceleration of Time
Van Gogh, or The Insufficiency of Sacrifice
A seven-year interval separates the two texts Georges Bataille wrote on Gogh. Sacrificial Mutilation and the Severed Ear of Vincent was published in Documents, no. 8, in 1930; Van Gogh as Prometheus appeared in the first issue of Verve, in December 1937. Despite the relatively long lapse between their respective dates of publication, these two texts are successive, the latter developing in three brief, luminous pages what the first had elaborated…
The Ends of Art According to Beuys
Joseph Beuys wanted to make instrument of resurrection, for unification of man. The proposal is simple. It enlisted enthusiastic adherence of his disciples and mockery of his detractors, but never indifference of Germans. In his own country his death was hailed as disappearance of a phenomenon; he had been compared to Duirer. The desire to spread Christianity's faith in possibility of each human being's rebirth excited this apostle of the expande…
The Ends of Art According to Beuys
Joseph Beuys wanted to make instrument of resurrection, for unification of man. The proposal is simple. It enlisted enthusiastic adherence of his disciples and mockery of his detractors, but never indifference of Germans. In his own country his death was hailed as disappearance of a phenomenon; he had been compared to Duirer. The desire to spread Christianity's faith in possibility of each human being's rebirth excited this apostle of the expande…
Van Gogh, or The Insufficiency of Sacrifice
A seven-year interval separates the two texts Georges Bataille wrote on Gogh. Sacrificial Mutilation and the Severed Ear of Vincent was published in Documents, no. 8, in 1930; Van Gogh as Prometheus appeared in the first issue of Verve, in December 1937. Despite the relatively long lapse between their respective dates of publication, these two texts are successive, the latter developing in three brief, luminous pages what the first had elaborated…
National Socialist Architecture as an Acceleration of Time
Puro presente. Imágenes de los tiempos nazis
Las imgenes de los tiempos nazis tradas al presente nos recuerdan cmo, en nombre de una civilizacin superior, se puede destruir sin culpa.La inmortalidad de un pueblo y la eternidad de su arte, justifica los procesos y los medios, cuales sean, para lograr sus objetivos.E n un momento en que las promesas de felicidad hechas por los defensores de un pro- greso tcnico rpido contrastaban tan violentamente con la incertidumbre que pesaba sobre el futu…
Matters of resistance and acquiescence
L’Art sans frontières is the misleading title bringing together several essays by Thomas W. Gaehtgens. The first part of this book, a fascinating history of the way Berlin’s museums came into being, is actually completely steered by an analysis of the effects of boundaries and their formidable effectiveness. The second part, focusing on encounters made by German artists with French painting from 1848 onward, also highlights the power of boundarie…
Résistances et acquiescements
L’Art sans frontières : c’est sous un titre trompeur qu’ont été regroupés plusieurs essais de Thomas W. Gaehtgens. Passionnante histoire de la formation des musées de Berlin, la première partie de l’ouvrage est en effet tout entière commandée par l’analyse des effets de frontières et de leur efficacité redoutable. La seconde, centrée sur les rencontres d’artistes allemands avec la peinture française depuis 1848, fait elle aussi valoir la puissanc…
La construction de l'image comme matrice de l'histoire
À partir du 19 e siècle, l'image est envisagée non plus comme document ou témoignage du passé, mais comme acteur de l'histoire. Tandis que le christianisme avait projeté un futur préformé par l'image du passé, le « nouveau christianisme » des saint-simoniens s'en remet aux artistes, « les hommes à imagination », qu'il place à l'avant-garde de la société pour façonner son avenir : c'est à eux de la passionner pour son bien-être futur et de « trans…
Figures nazies de Prométhée, de l'« homme Faustien » de Spengler, au « Travailleur » de Jünger
On the eve of the national-socialist rise to power, the German right was deeply divided over the issue of technology. In 1931, Oswald Spengler's Man and Technics took the cultural pessimism of his famed Decline of the West yet a step further, heralding the "fatal end" to which "Faustian technics" were inexorably leading. One year later, Ernst Jünger, in The Worker, expounded a "techno-fascism" affirming, on the contrary, his faith in the imminenc…
Le nazisme, un régime de la citation
C’est à Walter Benjamin que l’on attribue généralement cette belle idée que l’histoire est toujours écrite par les vainqueurs. Mais ainsi formulée, cette attribution mérite cependant quelques éclaircissements. Lorsque, dans ses fameuses thèses sur la philosophie de l’histoire écrites durant les premiers mois de l’année 1940, Benjamin affirmait en substance que le travail de l’historiciste, toujours en empathie avec les vainqueurs du passé, bénéfi…
Art, État et idéologies aux xixe et xxe siècles
Il fut un temps pas si lointain où s’intéresser à l’histoire politique et à l’histoire sociale de l’art vous faisait courir le risque d’être extradé, comme si les œuvres devaient par magie échapper à toute contingence pour assumer définitivement leur rôle de fétiche. De même, confronter les médias populaires aux œuvres majeures ou les entremêler (comme dans la réalité) semblait déplacé. Or, il s’agissait tout simplement d’écrire une histoire auss…
Barbarian Invasions and the Racialization of Art History
January 01 2012 Barbarian Invasions and the Racialization of Art History Eric Michaud Eric Michaud ERIC MICHAUD is Directeur d'études at the Ecole des hautes études en sciences sociales, Paris. His publications include The Cult of Art in Nazi Germany (transl. Janet Lloyd, Stanford UP, 2004) and Histoire de l'art: une discipline à ses frontières (Hazan, 2005). Search for other works by this author on: This Site Google Scholar Author and Article In…
The potent image
The modern Invention of Barbarians
The history of art started with the myth of Barbarian invasions. Countering the timelessness of Classical art as affirmed by Winckelmann in the middle of the eighteenth century, a new argument arose: The West was propelled into modernity by the Barbarian invasions of the fourth and fifth centuries, as it was converted from paganism to Christianity. The infusion of the new blood of the northern races was seen to have engendered a new art, anti-Rom…
The Barbarian Invasions
How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture…
Barbarian Invasions
The total work of art and totalitarianism
All the manifestos for a 'total work of art' after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the uni…
As invasões bárbaras ou a racialização da história da arte
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