Read A Theory of the Tache in Nineteenth-Century Painting

A Theory of the Tache in Nineteenth-Century Painting

Øystein Sjåstad

4.9/5 (34226 ratings)

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. Cézanne, 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.We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with A Theory of the Tache in Nineteenth-Century Painting. To get started finding A Theory of the Tache in Nineteenth-Century Painting, you are right to find our website which has a comprehensive collection of manuals listed.
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ISBN: 1472429443

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. Cézanne, 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.We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with A Theory of the Tache in Nineteenth-Century Painting. To get started finding A Theory of the Tache in Nineteenth-Century Painting, you are right to find our website which has a comprehensive collection of manuals listed.
Our library is the biggest of these that have literally hundreds of thousands of different products represented.

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A Theory of the Tache in Nineteenth-Century Painting

A Theory of the Tache in Nineteenth-Century Painting

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