[Home ] [Archive]   [ فارسی ]  
:: Main :: About :: Current Issue :: Archive :: Search :: Submit :: Contact ::
Main Menu
About ARIA::
Journal Information::
Articles archive::
For Authors::
For Reviewers::
Contact us::
Site Facilities::
Search in website

Advanced Search
Receive site information
Enter your Email in the following box to receive the site news and information.
:: Volume 1, Issue 3 (8-2012) ::
کیمیای هنر 2012, 1(3): 83-98 Back to browse issues page
Foucault with Magritte’s Eyes
Arash Iqbal *
Abstract:   (14727 Views)
Representation in painting, which connects the image and external reality and introduces the former as lower to or narrator of external object, was challenged with the advent of modern art. In fact, artist’s mind and individuality claimed their dominance on narration while bringing in a self-sufficient independence for image. In this new episteme, different styles and techniques emerged which insisted on the creativity of artist’s mind and recognized the human role in the construction of reality. It seemed that modern art and its method of thinking proved modern subject to have influential and important role in knowing of the world. Among the artistic pioneers of modern history, Magritte was the one who attacked the external object and its connection with image from a different point of view. Instead of conveying the important role of the subject-creator, like what we find in Cubism, Abstract Expressionism and even Surrealism, he rather insisted on the self-sufficiency of the image. He puts reality in front of reality and it is language that finally reveals the rupture. The resemblances do not represent each other rather, in a world of repetitions, the classical relationship between the original object and its representation dies. Foucault describes Magritte’s paintings as: “the shifting and exchanging of similar elements, but not the reconstruction of a resemblance.” The difference between similitude and resemblance is the core issue at stake in this article. Foucault discusses representation and resemblance in their relationship with classical viewpoint and differentiates them from similitude and repetition, adding that:”resemblance serves the representation but similitude serves the repetition.” Foucault’s observations on Magritte’s paintings are based on the affirmation of this notion that in Magritte’s paintings the narrating image loses sense while language too is shown unable to narrate the image. Refusing to accept the role of narrator, the self-sustaining worlds of language and image not only don’t refer to the outer world but also, as Foucault puts it, their juxtaposition in image happens “through emptiness”. Magritte’s works, in accordance to his line of thought, ultimately turn out to be deprived of objects. His painting turns into a window opened to an empty world. As Foucault says, his paintings escape having identity.
Keywords: Foucault, Magritte, resemblance, similitude, representation
Full-Text [PDF 734 kb]   (3853 Downloads)    
Type of Study: Research | Subject: Special
Received: 2012/12/10 | Accepted: 2013/04/23
Send email to the article author

Add your comments about this article
Your username or Email:


XML   Persian Abstract   Print

Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:

Iqbal A. Foucault with Magritte’s Eyes. کیمیای هنر 2012; 1 (3) :83-98
URL: http://kimiahonar.ir/article-1-44-en.html

Rights and permissions
Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Volume 1, Issue 3 (8-2012) Back to browse issues page
Persian site map - English site map - Created in 0.05 seconds with 37 queries by YEKTAWEB 4645