The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Paintingby Hanneke Grootenboer
Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the ways these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century… See more details below
Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the ways these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.
Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects. Grootenboer demonstrates how these paintings—ones that are often marginalized by art historical discourse—skillfully articulate the complexities of the visual and, consequently, gain new relevance in the context of recent interest in visual theory.
Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.
- University of Chicago Press
- Publication date:
- Edition description:
- New Edition
- Product dimensions:
- 6.00(w) x 9.00(h) x 0.80(d)
Table of Contents
|Introduction : the thought of painting||3|
|Ch. 1||The invisibility of depth : Merleau-Ponty, Lacan, and the lure of painting||21|
|Ch. 2||Truth in breakfast painting : Horror Vacui versus the void and Pascal's geometrical rhetoric||61|
|Ch. 3||The rhetoric of perspective : Panofsky, Damisch, and anamorphosis||97|
|Ch. 4||Perspective as allegorical form : Vanitas painting and Benjamin's allegory of truth||135|
|Conclusion : the look of painting||167|
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