Painting as Event: Performance and gesture in late Turner
In the last decades of his long career, J.M.W. Turner became increasingly prone to display his work on exhibition canvases, making the most of the varnishing days of the Royal Academy of Arts and British Institution to finish his paintings in public. These performative displays may be connected to t...
Na minha lista:
| Publicado no: | URI:https://journals.openedition.org/interfaces, |
|---|---|
| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicado em: |
Interfaces
2020
|
| Assuntos: | |
| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:interfaces_599 |
|---|---|
| record_format |
openedition |
| spelling |
openedition-oai:revues.org:interfaces_599 https://doi.org/10.4000/interfaces.599 urn:doi:10.4000/interfaces.599 en https://journals.openedition.org/interfaces/599 2020-12-15T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4gr https://creativecommons.org/licenses/by/4.0/ Painting as Event: Performance and gesture in late Turner Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Ibata, Hélène espace pictural kinesthésie Turner (J.M.W.) technique picturale Merleau-Ponty (Maurice) Maldiney (Henri) painting techniques pictorial space kinaesthesia Turner (J.M.W.) Merleau-Ponty (Maurice) Maldiney (Henri) In the last decades of his long career, J.M.W. Turner became increasingly prone to display his work on exhibition canvases, making the most of the varnishing days of the Royal Academy of Arts and British Institution to finish his paintings in public. These performative displays may be connected to the increasingly gestural nature of his production, to his quest for a form of adequation between his own emotional involvement in the process of painting and the dynamic motions of nature, but also to his new awareness of the process of pictorial creation as a lived or kinaesthetic experience in which vision and movement are fused. While romantic theories of expression may shed light on such an evolution, this article argues that Turner’s work seems to articulate a number of issues raised by phenomenological accounts of pictorial creation. According to Maurice Merleau-Ponty and Henri Maldiney in particular, the act of painting is driven by the artist’s lived experience and by the urge to show the world is as it is perceived and painted by the moving and gesturing subject, rather than simply as an object of detached vision. These analyses may shed light on Turner’s tendency, in his later production especially, to make his gestures immanent to the production of the pictorial space. Durant les dernières décennies de sa longue carrière, J.M.W. Turner prit l’habitude de finir ses tableaux d’exposition en public, lors des jours de vernissage de la Royal Academy of Arts et de la British Institution. Il est possible d’établir un lien entre ces performances et la dimension de plus en plus gestuelle de la production de Turner, sa quête d’une adéquation entre son engagement émotionnel dans l’acte de peindre et les mouvements dynamiques de la nature, mais aussi sa conscience accrue du processus de création picturale comme expérience vécue ou kinesthésique dans laquelle se confondent vision et mouvement. Si les théories romantiques de l’expression peuvent expliquer une telle évolution, il est également possible de voir dans l’oeuvre de Turner l’articulation d’un certain nombre de problématiques soulevées par la réflexion phénoménologique sur la création picturale. Maurice Merleau-Ponty et Henri Maldiney notamment considèrent l’acte de peindre comme étant motivé par l’expérience vécue de l’artiste aussi bien que par le désir de montrer le monde tel qu’il est perçu et peint par le sujet en mouvement, plutôt que comme un objet distinct de la vue. Leurs analyses peuvent apporter un éclairage utile sur la tendance accrue de Turner, dans les oeuvres de sa maturité notamment, à rendre ses gestes immanents à la production de l’espace pictural. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
espace pictural kinesthésie Turner (J.M.W.) technique picturale Merleau-Ponty (Maurice) Maldiney (Henri) painting techniques pictorial space kinaesthesia Turner (J.M.W.) Merleau-Ponty (Maurice) Maldiney (Henri) |
| spellingShingle |
espace pictural kinesthésie Turner (J.M.W.) technique picturale Merleau-Ponty (Maurice) Maldiney (Henri) painting techniques pictorial space kinaesthesia Turner (J.M.W.) Merleau-Ponty (Maurice) Maldiney (Henri) Ibata, Hélène Painting as Event: Performance and gesture in late Turner |
| description |
In the last decades of his long career, J.M.W. Turner became increasingly prone to display his work on exhibition canvases, making the most of the varnishing days of the Royal Academy of Arts and British Institution to finish his paintings in public. These performative displays may be connected to the increasingly gestural nature of his production, to his quest for a form of adequation between his own emotional involvement in the process of painting and the dynamic motions of nature, but also to his new awareness of the process of pictorial creation as a lived or kinaesthetic experience in which vision and movement are fused. While romantic theories of expression may shed light on such an evolution, this article argues that Turner’s work seems to articulate a number of issues raised by phenomenological accounts of pictorial creation. According to Maurice Merleau-Ponty and Henri Maldiney in particular, the act of painting is driven by the artist’s lived experience and by the urge to show the world is as it is perceived and painted by the moving and gesturing subject, rather than simply as an object of detached vision. These analyses may shed light on Turner’s tendency, in his later production especially, to make his gestures immanent to the production of the pictorial space. |
| author |
Ibata, Hélène |
| author_facet |
Ibata, Hélène |
| author_sort |
Ibata, Hélène |
| title |
Painting as Event: Performance and gesture in late Turner |
| title_short |
Painting as Event: Performance and gesture in late Turner |
| title_full |
Painting as Event: Performance and gesture in late Turner |
| title_fullStr |
Painting as Event: Performance and gesture in late Turner |
| title_full_unstemmed |
Painting as Event: Performance and gesture in late Turner |
| title_sort |
painting as event: performance and gesture in late turner |
| publisher |
Interfaces |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.599 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/599 |
| _version_ |
1877293791396757504 |