Figures des passions
La pathognomonie de Charles Le Brun
Bibliographic Data
| ID | 2156013 |
|---|---|
| Authors | Yves Hersant (École des Hautes Études en Santé Publique, corresponding author) |
| Year | 1984 |
| Volume | 1 |
| Issue | 1 |
| Pages | 163-173 |
| Publication date | 1984-11-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | History and Anthropology (JOURNAL) |
| Journal identifiers | ISSN: 0275-7206 • E-ISSN: 1477-2612 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/02757206.1984.9960739 |
| OpenAlex | W2001464637 |
| Language | EN |
| References cited | 1 |
King Louis XIV's official painter, Charles Le Brun, elaborated two models of “reading”; the body. The first one, inspired by the ancient physiognomists, surveys the analogies between human and animal features. The other, ushering in a modern pathognomy partly inspired by Descartes, codifies the signs of passion displayed on human faces: in such a perspective, the movements of the body (and more specifically those of the eyebrows) are supposed to express clearly and distinctly all the emotions of the soul by which they are produced. Thus, using the cartesian physiology as his starting point Le Brun built a semiology of gesture and a rhetoric of emotion that he systematized in the illustrated lectures held at the Royal Academy in 1668. They exemplify how classicism joined the picturesque and the discursive, the natural and the convention, the meaning of gesture and the meaning of words
Art · Art history · Epistemology · Humanities · Linguistics · Meaning (existential · Painting · Passion · Passions · Puppy · Reading (process · Soul · Historical and Literary Studies · Historical and Scientific Studies · Philosophy · Psychology · Visual Culture and Art Theory
| Highly cited | No |
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