Subject in Art

Soussloff Catherine M. Soussloff

Description

Challenging prevailing theories regarding the birth of the subject, Catherine M. Soussloff argues that the modern subject did not emerge from psychoanalysis or existential philosophy but rather in the theory and practice of portraiture in early-twentieth-century Vienna. Soussloff traces the development in Vienna of an ethics of representation that emphasized subjects as socially and historically constructed selves who could only be understood-and understand themselves-in relation to others, including the portrait painters and the viewers. In this beautifully illustrated book, she demonstrates both how portrait painters began to focus on the interior lives of their subjects and how the discipline of art history developed around the genre of portraiture.Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.

Sujets

• History of art
• Cultural studies

Informations

• Publié par: Duke University Press
• Date de parution: 04 octobre 2006
• Nombre de lectures: 0
• EAN13: 9780822388531
• Langue: English
• Poids de l'ouvrage: 175 Mo

Extrait

              

The

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in  

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         .         

Duke University Press

Durham and London



©  Duke University Press All rights reserved Printed in the United States of America on acid-free paper  Designed by C. H. Westmoreland Typeset in Adobe Garamond by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association.

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List of Illustrations

Acknowledgments

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Introduction: The Subject in Art

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A Genealogy of the Subject in the Portrait

The Birth of the Social History of Art

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The Subject at Risk: Jewish Assimilation and Viennese Portraiture 

Art Photography, Portraiture, and Modern Subjectivity

Regarding the Subject in Art History: An Epilogue

Notes

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Bibliography



Illustration Credits

Index

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





           

. Pablo Picasso,Portrait of Gertrude Stein, .  . Jan Van Eyck,The Arnolfini Wedding Portrait, . . Medieval Icon,Christ Pantocrator, fourteenth century.  . Anthony Van Dyck,Thomas Howard, nd Earl of Arundel, .  . Domenico Ghirlandaio,The Miracle of the Little Boy, –.  . Dirck Jacobsz,A Company of the Civic Guard, . . Pierre-Auguste Renoir,Marie-Thérèse Durand-Ruel Sewing, . . Gustav Klimt,Portrait of Margarethe Stonborough-Wittgenstein, .  . Anthony Van Dyck,Portrait of a Genoese Noblewoman, –.  . Oskar Kokoschka,Child in the Hands of the Parents, . .Caricature of the Pope and the Devil, inCaricature, by E. H. Gombrich and Ernst Kris.  . Book cover. Guy Debord,Society of the Spectacle, first American edition, .  . Title page. Hans Tietze,Die Juden Wiens: Geschichte-Wirtschaft-Kultur, .  . Oskar Kokoschka,The Dreaming Boys(book illustration).  . Henri Fantin-Latour,The Studio at Batignolles: Otto Schoelderer, Manet, Renoir, Zacharie Astruc, Zola, Edmond Maitre, Bazille and Monet, .  . Oskar Kokoschka, Poster forDer Sturm.  .Historic Rabbis, broadside printed by the Graphische Kunstanstalt, Breslau, twentieth century. 

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. . . . . . . . . . . .

.

. . . .

.

. . .

. . . . . . . . . . . .

Portrait of Tzevi Ashkenazi. Courtesy of The Jewish Museum, London.  Petrus Christus,Portrait of a Carthusian, .  Gilbert Stuart,Portrait of Moses Myers, ca. . Gilbert Stuart,Portrait of Eliza Myers, ca. .  Quentin Massys,Portrait of a Woman, ca. .  Quentin Massys,Portrait of a Man, ca. . Portrait of Sara Moscheles.  Portrait of Wolf Moscheles.  Frontispiece. G. Schiendl,Die kunstlerische Photographie, .  Guillaume Dubufe,Aquarelle, .  Heinrich Graf, photographic proofs, volume , # ff.  Heinrich Graf, photographic proofs, volume , # ff.  H. W. Vogel, Handbuch der Photographie: Die Photographische Praxis, .  Baron Albert de Rothschild,Tête d’étude: Dans le style italien du XVIe Siècle, . J. S. Bergheim,Portrait of a ‘‘Gazaleh,’’.  Heinrich Kühn,Portrait of Eduard Steichen.  Pablo Picasso,Portrait of Ambrose Vollard, –.  Pablo Picasso,Portrait of Daniel-Henry Kahnweiler, .

Color Plates (between pages  and )

Andy Warhol.Ten Portraits of Jews of the Twentieth Century: Gertrude Stein, . Oskar Kokoschka,Hans Tietze and Erica Tietze-Conrat, . Giorgione,Portrait of a Young Man, ca. –. Pontormo ( Jacopo Carucci),Portrait of a Halberdier(Francesco Guardi?), ca. –. Paul Gauguin,Tahitian Woman and Boy, . Oskar Kokoschka,Portrait of Felix Albrecht-Harta, . Oskar Kokoschka,Portrait of Lotte Franzos, . Oskar Kokoschka,Portrait of Baron Viktor Von Dirsztay, . Rembrandt van Rijn,The Mennonite Preacher Anslo and His Wife, . Edouard Manet,Portrait of Emile Zola, ca. . Heinrich Kühn,Still-life[Reminiscent of Dutch Painting], . Heinrich Kühn,Walther and Lotte Kühn, ca. . Heinrich Kühn,Portrait of the Artist’s Children, . Heinrich Kühn,Portrait of a Man Seated Beside a Supine Child, –. Edouard Manet,M. and Mme. Manet,Parents of the Artist, . Pablo Picasso,Portrait of Art Dealer Wilhelm Uhde , .

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During the six years of exploration that have taken me from the sub- ject portrayed in the art of portraiture to the social context of the history of art, I have journeyed to many places in Europe and the United States where I have incurred, with pleasure, many intellectual and practical debts. I cannot adequately acknowledge all of them here. I have enjoyed and benefited from the generosity of family, friends, colleagues, students, and institutions. If I neglect anyone in what fol- lows I apologize while remaining grateful to all. Genya, my daughter, and Bill Nichols, my husband, have offered patience and understanding when my research opportunities pre- sented them with the necessity of relocation and travel they would not otherwise have undertaken. As a family we have enjoyed the so- ciety and generosity of both strangers and friends that such scholarly emigrations provide. My brother Andrew Soussloff and his family, Patricia, Caroline, and Stephanie, gave me comfort and love on my cross-country research trips to New York City. My mother has been curious and enthusiastic. In all my travels I have always known where to find my brother Gregory and my sisters Elizabeth and Margaret, and my dear cousin Marie André. My friends have given me support, sustenance, advice, and love,