Les trois lignes de Fénéon
The scientific age of clouds assumed the recognition of the existence of atmospheric electricity. It was nevertheless necessary to wait for Luke Howard in order for clouds to be not only observed but also named and classified (1802). What was the role played by painting in their scientific invention...
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| Format: | Article ou chapitre numérique |
| Sprog: | Français |
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2020
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_210_0070RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2020-4-page-70?lang=fr https://doi.org/10.3917/rda.210.0070 Les trois lignes de Fénéon Claass, Victor2020 fre Revue de l'art | 210 | 4 | 2020-12-23 | p. 70-74 | 0035-1326 RDA_21038 The scientific age of clouds assumed the recognition of the existence of atmospheric electricity. It was nevertheless necessary to wait for Luke Howard in order for clouds to be not only observed but also named and classified (1802). What was the role played by painting in their scientific invention? Throughout the centuries very diverse points of view appeared concerning these paradoxical objects – the most dreamlike of all. Taken as cushions allowing for the distribution of space, as vehicles for pagan gods or of the unique God, as more or less transparent or opaque veils, clouds belong to the imaginary as well as to the phusis. However, Ruisdaël already conceived the cloud as a personage. One can easily take his Buisson (Bush) (maladroitly titled) for a 19th century painting, individualizing the most labile appearance and giving it consistency even before any appellation.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
The scientific age of clouds assumed the recognition of the existence of atmospheric electricity. It was nevertheless necessary to wait for Luke Howard in order for clouds to be not only observed but also named and classified (1802). What was the role played by painting in their scientific invention? Throughout the centuries very diverse points of view appeared concerning these paradoxical objects – the most dreamlike of all. Taken as cushions allowing for the distribution of space, as vehicles for pagan gods or of the unique God, as more or less transparent or opaque veils, clouds belong to the imaginary as well as to the phusis. However, Ruisdaël already conceived the cloud as a personage. One can easily take his Buisson (Bush) (maladroitly titled) for a 19th century painting, individualizing the most labile appearance and giving it consistency even before any appellation. |
| author |
Claass, Victor |
| spellingShingle |
Claass, Victor Les trois lignes de Fénéon |
| author_facet |
Claass, Victor |
| author_sort |
Claass, Victor |
| title |
Les trois lignes de Fénéon |
| title_short |
Les trois lignes de Fénéon |
| title_full |
Les trois lignes de Fénéon |
| title_fullStr |
Les trois lignes de Fénéon |
| title_full_unstemmed |
Les trois lignes de Fénéon |
| title_sort |
les trois lignes de fénéon |
| publishDate |
2020 |
| container_title |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2020-4-page-70?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.210.0070 |
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