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"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal
E-Book Content
JACQUES DERRIDA THETRUTH IN PAINTING Translated by
Geoff Bennington and Ian McLeod
The University of Chicago Press Chicago and London
The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London
© 1987 by The University of Chicago All rights reserved. Published 1987 Printed in the United States of America 03 02 01 0099 98 97 9 69 5 94
67 8 9 1 0
First published as LA VERITE EN PEINTURE in Paris, © 1978, Flammarion, Paris.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Derrida, Jacques. The truth in painting. Translation of La verite en peinture. Includes index. I.
Aesthetics.
BH39·D45
1987
I. Title. 7 01'.1'7
ISBN 0-2 2 6-143 24-4 (pbk.)
Contents
List of Illustrations vii Translators' Preface xiii Passe-Partout 1.
Parergon
1
15 17
I.
Lemmata
II.
The Parergon
III.
The
IV.
The Colossal
Sans
2.
+R
3.
Cartouches
4.
Restitutions
37
of the Pure Cut 119
(Into the Bargain)
Index
383
183 255
149
83
List of Illustrations
Parergon Johannes Kepler, De Nive Sexangula, printer's mark (photo, 25 Flammarion) Lucas Cranach, Lucretia, 1 5 3 3, Berlin, Staatliche Museen Preus sische Kulturbesitz, Gemaldegalerie (photo, Walter Steinkopf ) 58 Antonio Fantuzzi, a cryptoportico, 60
1 545
(photo, Flammarion)
Master L. D., cryptoporticQ of the grotto in the pinegarden, at Fontainebleau (photo, Flammarion) 62 Antonio Fantuzzi, ornamental panel with empty oval, 65 (photo, Flammarion) Antonio Fantuzzi, empty rectangular cartouche, Flammarion) 66
1 542 - 43
1 5 44 - 45
(photo,
Doorframe, in the style o f Louis XIV, anonymous engraving (photo, Roger Viollet) 72 Nicolas Robert, The Tulip, in Tulia 's Garlan d (photo, Giraudon) 86 Frontispiece t o New Drawings of Ornaments, Panels, Carriages, Etc. (photo, Roger Viollet) 99
viii
The Truth in Painting
The Colossus of Rhodes, Gobelins Tapestry, Seventeenth Cen 1 23 tury Antoine Caron, The Massacre of the Triumvirates, The Louvre 1 24 (photo, Flammarion) Francisco Goya, The Colossus, aquatint (photo, Rogert Viollet) 1 30 Francisco Goya, The Colossus or Panic, oil; Prado museum (photo, 141 Giraudon) +R
(Into the Bargain)
Valerio Adami, Study for a Drawing after Glas by Jacques Derrida, 27 February 1 9 7 5 1 5 3 and 1 67 Valerio Adami, Study for a Drawing after Glas by Jacques Derrida, 27 February 1 97 5 , graphite pencil; private collection 154 and 1 68 Valerio Adami, Concerto a quattro mani, 3 I March 1 9 7 5 , graphite pencil 1 5 5 and 1 5 6 Valerio Adami, Study for a Drawing after Glas by Jacques Derrida, 22 May 1 97 5 , graphite pencil; private collection 157 Valerio Adami, Autobiografia, 6 April 1 97 5 , graphite pencil Valerio Adami, Elegy for Young Lovers, pencil 165
I
1 64
April 1 97 5 , graphite
Valerio Adami, L a piscina, 1 96 6, oil on canvas; Schwartz Gallery,