Shades—Of Painting at the Limit

John Sallis

Description

"[Sallis's] ideas are presented in a singular, scholarly, remarkable, captivating, conceptually rigorous, dense, and deep manner. . . . Highly recommended." —Choice

"This fascinating book by one of the more original voices writing philosophy in English poses questions about the nature of the visible and invisible, sensible and intelligible." —Dennis Schmidt

What is it that an artist paints in a painting? Working from paintings themselves rather than from philosophical theories, John Sallis shows how, through shades and limits, the painter renders visible the light that confers visibility on things. In his extended examination of three phases in the development of modern painting, Sallis focuses on the work of Claude Monet, Wassily Kandinsky, and Mimmo Paladino—three painters who, each in his own way, carry painting to the limit.

Adumbrations
1. Shades of Time: Monet's _Wheatstacks_
2. Thresholds of Absgract Painting: Kandinsky and the Stage of Composition
3. Very Ancient Memories: Paladino's Recondite Images

Sujets

• Arts visuels
• Arts visuels
• PHILOSOPHY
• General officer
• Cultural studies
• Art
• General
• Continental

Informations

• Publié par: Indiana University Press
• Date de parution: 11 février 2017
• Nombre de lectures: 0
• EAN13: 9780253031334
• Langue: English
• Poids de l'ouvrage: 9 Mo

Extrait

SHADES-OF PAINTING AT THE LIMIT
Studies in Continental Thought
John Sallis, general editor
Consulting Editors
Robert Bernasconi
William L. McBride
Rudolf Bernet
J. N. Mohanty
John D. Caputo
Mary Rawlinson
David Carr
Tom Rockmore
Edward S. Casey
Calvin O. Schrag
Hubert L. Dreyfus
Reiner Sch rmann
Don Ihde
Charles E. Scott
David Farrell Krell
Thomas Sheehan
Lenore Langsdorf
Robert Sokolowski
Alphonso Lingis
Bruce W. Wilshire
David Wood
The Collected Writings of John Sallis
volume 1/10
The Collected Writings of John Sallis brings together all of John Sallis s writings from the late 1960s to the present. It includes all of his published books; several volumes of manuscripts and shorter texts, most of them previously unpublished; complete transcriptions of his lecture courses and seminars; and a series of addresses and interviews along with material based on his dialogues with several eminent philosophers and artists. Sallis s work ranges across the entire history of philosophy and engages the thought of several of the most significant philosophers of recent times. His writings are addressed to major philosophical themes such as the senses of art and of landscape, chorology and the legacies of Platonic thought, the elemental in nature, and, above all, imagination.
SHADES-OF PAINTING THE LIMIT
JOHN SALLIS
INDIANA UNIVERSITY PRESS
BLOOMINGTON INDIANAPOLIS
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
First paperback edition 2016
1998 by John Sallis
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Manufactured in the United States of America
The Library of Congress has cataloged the original edition as follows:
Sallis, John, [date]
Shades-of painting at the limit/John Sallis.
p. cm. - (Studies in Continental thought)
Includes bibliographical references and index.
ISBN 0-253-33424-1 (cloth : alk. paper).-
ISBN 0-253-21222-7 (pbk. : alk. paper)
1. Painting-Philosophy. 2. Painters-Psychology. 3. Creation (Literary, artistic, etc.). I. Title. II. Series. ND1140.S26 1998 750 . 1-dc21
98-18462
ISBN 978-0-253-33424-4 (cloth)
ISBN 978-0-253-02714-6 (paper)
1 2 3 4 5 21 20 19 18 17 16
Publication of this book is made possible in part with the assistance of a Challenge Grant from the National Endowment for the Humanities, a federal agency that supports research, education, and public programming in the humanities.
To my brother, Jim
CONTENTS
List of Plates
List of Figures
Acknowledgments
PLATES FOLLOW PAGE
Adumbrations
ONE
Shades of Time: Monet s Wheatstacks
TWO
Thresholds of Abstract Painting: Kandinsky and the Stage of Composition
THREE
Very Ancient Memories: Paladino s Recondite Images
Index of Proper Names
List of Plates
1. Claude Monet, Wheatstacks in the Sunlight, Midday (W 1271), 1890.
2. Claude Monet, Wheatstacks, End of Summer, Evening Effect (W 1269), 1891.
3. Claude Monet, Wheatstack, Snow Effect, Morning (W 1280), 1891.
4. Claude Monet, Wheatstack, Sunset (W 1289), 1891.
5. Claude Monet, Wheatstacks, Sunset, Snow Effect (W 1278), 1891.
6. Claude Monet, Wheatstack, Snow Effect, Overcast Day (W 1281), 1891.
7. Claude Monet, Wheatstack (W 1283), 1891.
8. Claude Monet, Wheatstacks, Effect of Hoar-Frost (W 1277), 1891.
9. Claude Monet, Wheatstacks, Winter Effect (W 1279), 1891.
10. Claude Monet, Wheatstack (W 1285), 1891.
11. Claude Monet, Wheatstack, Thaw, Sunset (W 1284), 1891.
12. Wassily Kandinsky, Composition IV , 1911.
13. Wassily Kandinsky, Composition V , 1911.
14. Wassily Kandinsky, Composition VI , 1913.
15. Mimmo Paladino, Silent Red [Rosso silenzioso], 1980.
16. Mimmo Paladino, Untitled [Senza titolo], 1989.
17. Mimmo Paladino, On Tiptoe [In punta di piedi], 1990.
18. Mimmo Paladino, Souvenirs , 1990.
19. Mimmo Paladino, Untitled (Mask) [Senza titolo (Maschera)], 1990 (frontal).
20. Mimmo Paladino, Untitled (Mask) [Senza titolo (Maschera)], 1990 (lateral).
List of Figures
1. Claude Monet, Haystacks at Chailly at Sunrise (W 1989-55 bis), 1865.
2. Claude Monet, The Haystack (W 994), 1885.
3. Photograph of wheatstacks behind Monet s house at Giverny, 1905.
4. Claude Monet, The Red Kerchief: Portrait of Camille Monet (W 257), 1873.
5. Wassily Kandinsky, All Saints 1 [Allerheiligen I], early summer 1911.
6. Wassily Kandinsky, All Saints 1 [Allerheiligen I], July-August 1911.
7. Wassily Kandinsky, Composition II , 1910.
8. Mimmo Paladino, EN DE RE , 1977.
9. Mimmo Paladino, Untitled [Senza titolo], 1989.
10. Mimmo Paladino, Open [Apre], 1989. Work in four parts (second part).
11. Mimmo Paladino, Souvenirs , 1990.
12. Mimmo Paladino, Ornamental Landscape [Paesaggio ornato], 1990.
13. Forte Belvedere, Florence.
14. Mimmo Paladino, Horse [Cavallo], 1991.
15. Mimmo Paladino, Untitled [Senza titolo], n.d.
16. Mimmo Paladino, Untitled (Fountain) [Senza titolo (Fontana)], 1987.
17. Mimmo Paladino, Untitled (Fountain) [Senza titolo (Fontana)],1987-with RESPIRO in the background.
18. Mimmo Paladino, Alone [Solo], 1992.
19. Mimmo Paladino, Witnesses [Testimoni], 1992.
20. Mimmo Paladino, Sculpture dedicated to Giovanni Falcone and Paolo Borsellino, consisting of one wooden sculpture and seven oils on panel, Choral I-VII [Corale I-VII], 1992.
21. Mimmo Paladino, Untitled [Senza titolo], 1993.
22. Mimmo Paladino, Untitled [Senza titolo], 1993.
23. Mimmo Paladino, Nocturnal Song [Canto Notturno], 1984.
24. Mimmo Paladino, Witnesses [Testimoni], 1992.
25. Mimmo Paladino, Untitled [Senza titolo], 1988.
26. Mimmo Paladino, Witnesses [Testimoni], 1992.
27. Mimmo Paladino, Witnesses [Testimoni], 1992.
28. Mimmo Paladino, Witnesses [Testimoni], 1992.
29. Mimmo Paladino, Witnesses [Testimoni], 1992.
Acknowledgments
This book draws upon a series of papers that appeared in Tema Celeste; to Demetrio Paparoni, editor of this contemporary art review, I am grateful for permission to use material from these papers. I want also to thank Sperone Westwater Gallery (New York) for permission to use material that appeared in the exhibition catalogue Amici .
I am grateful also to Magdalena Dabrowski, Curator at The Museum of Modern Art (New York), whose generous assistance was invaluable in acquiring the materials and permissions needed for certain reproductions. Above all, I want to express my deep gratitude to my editor and friend Janet Rabinowitch; this book has benefited enormously from her expert editorial advice and from her tireless and uncompromising effort in its behalf.
Thanks also to my wife Jerry for her photographs of the Paladino mask ( plates 19 and 20 ). I am grateful also to my daughter Lauren Lewis and to Nancy Fedrow and Robert Metcalf for help during the preparation and production of this book.
Boalsburg
February 1998
SHADES-OF PAINTING THE LIMIT
Plate 1 . Claude Monet
Wheatstacks in the Sunlight, Midday (W 1271), 1890.
65.6 100.6 cm.
National Gallery of Australia, Canberra.

Plate 2 . Claude Monet
Wheatstacks, End of Summer, Evening Effect (W 1269), 1891.
60 100 cm.
The Art Institute of Chicago (Arthur M. Wood in memory of Pauline Palmer Wood, 1985.1103). Photograph 1996, The Art Institute of Chicago, All Rights Reserved.

Plate 3 . Claude Monet
Wheatstack, Snow Effect, Morning (W 1280), 1891.
65 92 cm.
Museum of Fine Arts, Boston (gift of Misses Aim e and Rosamond Lamb in memory of Mr. and Mrs. Horatio A. Lamb. Courtesy Museum of Fine Arts, Boston).

Plate 4 . Claude Monet
Wheatstack, Sunset (W 1289), 1891.
73 92 cm.
Museum of Fine Arts, Boston (Juliana Cheney Edwards Collection. Courtesy Museum of Fine Arts, Boston).

Plate 5 . Claude Monet
Wheatstacks, Sunset, Snow Effect (W 1278), 1891.
65 100 cm.
The Art Institute of Chicago (Mr. and Mrs. Potter Palmer Collection, 1922.431). Photograph 1996, The Art Institute of Chicago, All Rights Reserved.

Plate 6 . Claude Monet
Wheatstack, Snow Effect, Overcast Day (W 1281), 1891.
65 92 cm.
The Art Institute of Chicago (Mr. and Mrs. Martin A. Ryerson Collection, 1933.1155). Photograph 1997, The Art Institute of Chicago, All Rights Reserved.

Plate 7 . Claude Monet
Wheatstack (W 1283), 1891.
65 92 cm.
The Art Institute of Chicago (Restricted gift of the Searle Family Trust; Major Acquisitions Centennial Endowment; through prior acquisitions of the Mr. and Mrs. Martin A. Ryerson and Potter Palmer Collections; through prior bequest of Jerome Friedman, 1983.29). Photograph 1997, The Art Institute of Chicago, All Rights Reserved.

Plate 8 . Claude Monet
Wheatstacks, Effect of Hoar-Frost (W 1277), 1891.
65 92 cm.
The National Gallery of Scotland.

Plate 9 . Claude Monet
Wheatstacks, Winter Effect (W 1279), 1891.
65 92 cm.
The Metropolitan Museum of Art (H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929, 29.100.109). Photograph 1996, The Metropolitan Museum of Art.

Plate 10 . Claude Monet
Wheatstack (W 1285), 1891.
65 92 cm.
Galerie Larock-Granoff, Paris.

Plate 11 . Claude Monet
Wheatstack, Thaw, Sunset (W 1284), 1891.
65 92 cm.
The Art Institute of Chicago (Gift of Mr. and Mrs. Daniel C. Searle, 1983.166). Photograph 1997, The Art Institute of Chicago, All Rights Reserved.

Plate 12 . Wassily Kandinsky
Composition IV, 1911.
159.5 250.5 cm.
Kunstsamml