By Gary Shapiro
Shapiro explores the full diversity of Foucault's writings on visible paintings, together with the speculation of visible resistance, the idea that of the illusion or simulacrum, and his interrogation of the relation of portray, language, and tool in artists from Bosch to Warhol. Shapiro additionally indicates via an excavation of little-known writings that the visible is a big subject in Nietzsche's inspiration. as well as explaining the importance of Nietzsche's research of Raphael, Dürer, and Claude Lorrain, he examines the philosopher's knowing of the visible measurement of Greek theater and Wagnerian opera and gives a robust new interpreting of Thus Spoke Zarathustra.
Archaeologies of Vision might be a landmark paintings for all students of visible tradition in addition to for these engaged with continental philosophy.
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Additional info for Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying
H a n s H o l be i n , Portrait of Thomas Godsal•• and His Son john, 1 5 28. G e m a l d egalerie Alte M e i ste r, Staatl iche K u n stsa m m l u n ge n , Dresden. 3 1 Death is not present only through such de vices as the famous anamorphic skull of Th e A m bassado rs, but in the very facticity of the painter's manner. Indeed it is, insofar as there is a painstaking and successful attempt to capture the textures and tones of cloth, fur, skin, metal, and paper. The setting is rather spare, and this allows the painter to develop a number of specific objects and themes.
The regentesses might be thought of as casting an evil eye on the inmates, and there is something mad both in the fear of the evil eye and in those to whom it is attributed. Here we need to make a distinction: Foucault is frequently concerned with visual works or ar chitectural structures, like the Hals painting or the Panopticon, that represent or embody a malevolent gaze; but this is not to say either that he thinks that the entire visual world is oriented in this way or that he judges the entire spectrum of visibility to be under the sway of an evil eye.
As Nietzsche's late preface to The Birth of Tragedy has it, they help us to see science (or attempts at realism) in the optics of art; but we should go further and see art in the optics of life, that is, we should use it to make the things of our lives, indeed those very lives themselves, "beautiful, attractive, and desirable. " II H i d d e n I m age s : B e fo re t h e Age o f A rt One way to learn from the artists that Nietzsche cites as ex emplars is to s ee them as working with media, styles, and genres that (like the sixteenth century portrait) have a specific historical situation.