By Gavin Keeney
Art as Night proposes one of those a-historical darkish wisdom (a-theology and theology, immediately) crossing portray considering the fact that Velazquez, yet achieving again to the Renaissance, particularly Titian and Caravaggio. As a kind of formalism, tonight is additionally heavily allied with sorts of intellection that come to live in artwork as natural visible employer or fabric wisdom whereas invoking ethical organization, a functionality of paintings kind of bracketed in sleek paintings for moral and/or political organisation.
Not a conception of meta-painting, Art as Night restores coordinates arguably misplaced in portray because the separation of usual and ethical philosophy within the Baroque period. it truly is with Velazquez that we see a turning element, an emphasis at the particular assets of portray as a kind of speculative mind, whereas it really is with modern works through Gerhard Richter and Anselm Kiefer that we see the go back of an analogous after the cave in of modernism, and after next postmodern maneuvers to make artwork discursive but with out the austerities of the formal capacity found in artwork as paintings.
Art as Night argues for a non-discursive kind of intellection absolutely embodied within the murals - and, premier, portray. A synoptic and deliberately elusive and allusive survey of portray, throughout the cave in of the paintings industry in overdue 2007, Art as Night indicates when it comes to this critique of an non-compulsory evening crossing portray that the artwork global is an eternally deferred model of pleroma (Hegel's Absolute Knowledge), a completely artificial global given to an exploration and appropriation of the given via classical mimesis and epistemology and its entire incorporation and transfiguration in a concept of data and paintings as natural speculative company.
In impact, Art as Night is an incarnational thought of artwork as absolute wisdom.
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Additional info for Art as "Night": An Art-Theological Treatise
Xiii. , p. xix. , p. xxiv. Regarding Seville, “Sevilla was the capital of the Spanish colonial Empire. It was then, economically speaking, the richest city in the Peninsula and also the liveliest in art and letters. . Velázquez’s generation was alert to evolution and on the look-out for novelties from Italy. Now, shortly before, the last great event in Italian painting had taken place – the appearance of Caravaggio. , p. xiv. And, “Caravaggio decided to copy something like real light, though he chose artificially prepared effects of light, ‘light in a cellar’ with a ray dazzlingly picking out a part of the figure and leaving the rest in a dark penumbra.
Xiv. And, “Caravaggio decided to copy something like real light, though he chose artificially prepared effects of light, ‘light in a cellar’ with a ray dazzlingly picking out a part of the figure and leaving the rest in a dark penumbra. , p. xvii. Ortega follows this acclamation with the qualification that with Caravaggio it is the light that is realistic, not the figures (which remain idealized). Ortega also claims that it is in Velázquez’ portraits that this “phantom of almost elemental power” (light) is perfected.
P. 79. , pp. 121-61, for what today has been called the “cosmogonic eros,” an archaicizing affectation found in Walter Benjamin, and a gesture that Benjamin seems to have lifted from Saint Paul. See Giorgio Agamben, The Time That Remains: A Commentary on the Letter to the Romans, trans. Patricia Dailey (Stanford: Stanford University Press, 2005). 7 This valedictory recourse to the image of the mirror (its specular anti-nature given to returning mere imagery to ideality) sets up the iconic destruction of Las Meninas carried out by numerous examinations and repeated excavations to test its optical veracity and challenge its meta-logical foundations.
Art as "Night": An Art-Theological Treatise by Gavin Keeney