Please use this identifier to cite or link to this item: http://hdl.handle.net/1942/36909
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dc.contributor.authorIONESCU, Vlad-
dc.date.accessioned2022-03-17T10:28:57Z-
dc.date.available2022-03-17T10:28:57Z-
dc.date.issued2022-
dc.date.submitted2022-03-01T10:54:37Z-
dc.identifier.citationAlloa, Emmanuel (Ed.). This Oscure Thing Called Transparency. Politics and Aesthetics of a Contemporary Metaphor, Leuven University Press, p. 254 -284-
dc.identifier.isbn978 94 6270 325 4-
dc.identifier.urihttp://hdl.handle.net/1942/36909-
dc.description.abstractThe following essay discusses the techniques that have rendered transparency in visual arts, from Raphael’s unione to Tintoretto’s pittura di tocco e di macchia and the use of air in contemporary arts. The hypothesis is double: first, that visual arts and architecture have constructed modes of rendering transparency while cultivating opacity and density, either of the image or of the living body; second, that transparency is a privileged motif because it crystallises the iconological core of the image, i.e. what visual arts disclose and conceal. From veils to curtains, from soap bubbles to air conditioners, transparency reveals how the image mediates the senses and sensibilities of Western culture.-
dc.language.isoen-
dc.publisherLeuven University Press-
dc.titleTroppo Vero! Opacity, Density, Noise and Thickness of Images-
dc.typeBook Section-
local.bibliographicCitation.authorsAlloa, Emmanuel-
dc.identifier.epage284-
dc.identifier.spage254-
local.format.pages30-
local.bibliographicCitation.jcatB2-
local.publisher.placeLeuven-
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Bletter, Rosemarie Haag, The Interpretation of the Glass Dream – Expressionist Architecture and the History of the Crystal Metaphor, in The Journal of the Society of Architectural Historians, vol. 40, no. 1, March 1981, p. 20-43. Bredekamp, Horst, Theorie des Bildakts, Berlin, Suhrkamp, 2010. Cabanne, Pierre, Dialogues with Marcel Duchamp, translated by Ron Padgett, London, Da Capo Press, 1979. Elias Canetti, The Human Province, translated by Joachin Neugroschel, London, Picador, 1985. Cheney, Liana De Girolami, Vanity, in Helene E. Roberts (ed.), Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art, Chicago, Fitzroy Dearborn Publishers, 1998, pp. 881-889. de Duve, Thierry, Kant After Duchamp, Cambridge, Mass., The MIT Press, 1996. Pictorial Nominalism. On Marcel Duchamp’s Passage from Painting to the Readymade, translated by Dana Polan, with a forward by John Rajchman, Minneapolis, University of Minnesota Press, 2005. Elger, Dietmar, Gerhard Richter. A Life in Painting, translated by Elisabeth M. Solaro, Chicago, The University of Chicago Press, 2009. Frampton, Kenneth, Modern Architecture. A Critical History, London, Thames and Hudson, 1982. Giedion, Sigfried, Space, Time and Architecture. The Growth of a New Tradition, Cambridge, Mass., Harvard University Press, 1982. Glissant, Édouard, Poetics of Relation, translated by Betsy Wing, Ann Arbor, The University of Michigan Press, 1997. Hall, Marcia B., Color and Meaning. Practice and Theory in Renaissance painting, Cambridge, Cambridge University Press, 1994. Hills, Paul, Titian’s Veil, in Art History, vol. 29, no. 5, November 2006, pp. 771-795. Husserl, Edmund, Phantasy, Image Consciousness, and Memory (1898-1925), translated by John B. Brough, Dordrecht, Springer, 2005. Jay, Martin, Downcast Eyes. The Denigration of Vision in Twentieth-Century French Thought, Los Angeles, University of California Press, 1994. Johung, Jennifer, Replacing the Hut: Dan Graham’s Two-Way Mirror Cylinder Inside Cube, in Isabelle Loring Wallace, Nora Wendl (eds.), Contemporary Art About Architecture. A Strange Utility, London, Routledge, 2013, pp. 49-65. Lauwaert, Dirk, Joseph Sudek, het geheugen van het licht, in De Tijd, jrg. 31, no. 7719, 7 November, 1998, p. 9. Luca, Gherasim, Héros-Limite suivi de Le Chant de la Carpe et de Paralipomènes, préface d’André Velter, Paris, Gallimard, 1985. OMA Office for Metropolitan Architecture, Rem Koolhaas, Bruce Mau, S, M, L, XL, edited by Jennifer Sigler, photography by Hans Werlemann, New York, The Monacelli Press, 1995. Riley, Terence, Light Construction, in Terence Riley (ed.), Light Construction, New York, MOMA, 1995. Marin, Louis, Opacité de la peinture. Essais sur la représentation au Quattrocento, Paris, Éditions de l’école des hautes études en sciences sociales, 2006. Détruire la peinture, Paris, Galilée, 1977. Preimesberger, Rudolf , “The face that is known draws the eyes of all spectators”. Leon Battista Alberti on the Impact of the Face in a Painting, in Keith Christiansen, Stephan Weppelman (eds.), The Renaissance Portrait from Donatello to Bellini, New York, Metropolitan Museum of Art, 2011, pp. 77-84 Rowe, Colin, Slutzky, Robert, “Transparency: Literal and Phenomenal”, in Perspecta, vol. 8, 1963, p. 45-54. Simmel, Georg, The Metropolis and Mental Life, in On Individuality and Social Forms, edited with an Introduction by Donald N. Levine, Chicago, The University of Chicago Press, 1971. Speer, Andreas, Beyond Art and Beauty. In Search of the Object of Philosophical Aesthetics, in International Journal of Philosophical Studies, vol. 8, no. 1, 2000, pp. 73-88. Valéry, Paul, Politique de l’esprit, notre souverain bien, in Œuvres I, édition établie et annotée par Jean Hytier, Paris, Gallimard, 1957. Vandenbroeck, Paul, Utopia’s Dream, The Graal as Paradise of Lust, The Secret of the Free Spirit and Jheronimus Bosch’s so-called Garden of Delight, Leuven, Peeters, 2017. Jheronimus Bosch’ zogenaamde Tuin der Lusten I, in Jaarboek van het Koninklijke Museum voor Schone Kunsten Antwerpen, 1989, pp. 1-210. Jheronimus Bosch’ zogenaamde Tuin der Lusten II, De Graal of het Valse Liefdesparadijs, in Jaarboek van het Koninklijke Museum voor Schone Kunsten Antwerpen, 1990, pp. 9-192. Bart Verschaffel, Théorie du portrait, in Essai sur les genres en peinture. Nature morte, portrait, paysage, Bruxelles, La Lettre Volée, 2007. Vischer, Robert, Drei Schriften Zum Ästhetischen Formproblem, Halle, Saale: Max Niemeyer Verlag, 1927. Van Hulle, Dirk, The Making of Samuel Beckett’s Stirrings Still/ Soubresauts and Comment dire/ What is the Word, Brussels, ASP Editions, 2011. Wittkower, Rudolf , Masters of the Loaded Brush. Oil Sketches from Rubens to Tiepolo, New York, Wittenborn,-
local.type.refereedRefereed-
local.type.specifiedBook Section-
local.bibliographicCitation.btitleThis Oscure Thing Called Transparency. Politics and Aesthetics of a Contemporary Metaphor-
local.uhasselt.internationalno-
item.validationvabb 2024-
item.contributorIONESCU, Vlad-
item.fullcitationIONESCU, Vlad (2022) Troppo Vero! Opacity, Density, Noise and Thickness of Images. In: Alloa, Emmanuel (Ed.). This Oscure Thing Called Transparency. Politics and Aesthetics of a Contemporary Metaphor, Leuven University Press, p. 254 -284.-
item.fulltextWith Fulltext-
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