Publication: La representación del poder y los discursos en la pintura. Las transformaciones de la pintura francesa, 1680-1730
Loading...
Official URL
Full text at PDC
Publication Date
2016-10-03
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
Esta tesis se ha construido a partir del método arqueológico que hemos establecido, a su vez, a partir de la obra de M. Foucault La Arqueología del Saber, así como de sus seminarios del Collège de France. Desde ella hemos definido una alternativa metodológica para estudiar el arte, respecto a las otras propuestas metodologías tradicionales de la Historia del Arte; centrándonos principalmente en los discursos producidos por el saber artístico. A partir de los problemas que encierra la Historia, y por consiguiente la Historia del Arte, como hemos puesto de manifiesto al analizar los términos barroco y rococó, nos hemos alejado de las diversas corrientes historiográficas que definen la Historia del Arte, determinadas por los problemas de la Historia y de la Forma, proponiendo una nueva aproximación al análisis del arte a través de la Arqueología del Saber de M. Foucault, que -sin duda- ha condicionado la forma de nuestro trabajo. Esto nos ha conducido a centrarnos principalmente en los discursos artísticos, esto es, en los discursos producidos por el propio saber artístico, trabajando sobre los textos teóricos, las conferencias, los panfletos o libelos de las polémicas artísticas, sobre los poemas elogiosos hacia determinadas obras o sobre las descripciones periodísticas. Hemos intentado estudiar en profundidad, por tanto, todo ese mundo de discursos producidos desde y por el arte, que constituirán en su conjunto un saber artístico, dejando en un segundo plano las formas artísticas. Esta elección de una metodología arqueológica ha condicionado por tanto la forma de nuestro trabajo, pues éste no ha intentado reconstruir el proceso artístico o creativo de una obra, ni tampoco las vicisitudes por las que ha pasado una obra concreta. Tampoco hemos pretendido desde la obra, entendida como evento o acontecimiento –al modo que hace la Historia- analizar la sociedad de la época; como si el arte fuera el reflejo de una Verdad histórica o de un espíritu de su tiempo. Nuestro objetivo ha consistido en intentar comprender en qué medida el arte, en tanto que saber y conjunto de discursos, se ve afectado por los cambios en la verdad-poder que suceden en su época. Pero estas transformaciones han sido estudiadas no desde la obra en sí -como tradicionalmente se ha hecho- sino desde los discursos arriba señalados, pues es más fácil analizar las formas de actuación del poder a través de los discursos que genera que a través de las formas artísticas, cuyos “comportamientos” no son tan fácilmente cognoscibles desde la palabra, a la que tiende a expulsar, como bien señaló Platón en su República...
This Thesis has been built following the archeological method that we have established, in turn based on the work of M. Foucault The Archeology of Knowledge and of his seminars at the College of France. From this we have defined an alternative methodology to study art, regarding other traditional methodologies of History of Art; focusing mainly in discourses produced by the artistic knowledge. From the problems that History encloses, and subsequently History of Art, demonstrated when analyzing the terms Baroque and Rococo, we have distanced ourselves from the diverse historic trends that define the History of Art, determined by the problems of the History and the Form, proposing a new approach to the analysis of art through the Archeology of Knowledge of M. Foucault, that without any doubt has conditioned our way of working. This has led us to focus mainly around artistic discourses, meaning discourses produced by the proper artistic knowledge, working with theoretical texts, conferences, leaflets and libels of artistic controversies, poems of compliment towards certain works, or journalist descriptions. We have tried to thoroughly analyze such discourses produced from and by art, which constitute as a whole an artistic knowledge, leaving in a second plane the artistic forms. This election of an archeological methodology has conditioned therefore the form of our work, because neither has intended to rebuild the artistic or creative process of a work of art, nor the concrete difficulties the work of art has undergone. We have not pretended to initiate from the work of art itself, understood as an event or occurrence - in the way History does – an analysis of the society of a period time, as if art was the mirror of a Historic Truth or a Spirit of his time. Our objective has been to try and understand in which measure art, as a knowledge and combination of discourses, is affected by the changes in the Truth-Power that occur in a given period of time. These transformations have not been studied from the work of art itself – as it has been traditionally accomplished – but from the discourses aforementioned, as it is easy to analyze the ways of exercising Power through the discourses that generate, that through the artistic forms, whose “behaviors” are not so easy cognizable from The Word, tended to be expelled as it was described by Plato in the Republic. This is why, what we have tried to expose in this Thesis is in which measure the transformation of power that accounted at the end of XVII and beginning of XVIII century, that reveal the step from Sovereignty to Governmentality, conditioned disciplines of knowledge of the time, concretely, discourses about the French Painting of the moment...
This Thesis has been built following the archeological method that we have established, in turn based on the work of M. Foucault The Archeology of Knowledge and of his seminars at the College of France. From this we have defined an alternative methodology to study art, regarding other traditional methodologies of History of Art; focusing mainly in discourses produced by the artistic knowledge. From the problems that History encloses, and subsequently History of Art, demonstrated when analyzing the terms Baroque and Rococo, we have distanced ourselves from the diverse historic trends that define the History of Art, determined by the problems of the History and the Form, proposing a new approach to the analysis of art through the Archeology of Knowledge of M. Foucault, that without any doubt has conditioned our way of working. This has led us to focus mainly around artistic discourses, meaning discourses produced by the proper artistic knowledge, working with theoretical texts, conferences, leaflets and libels of artistic controversies, poems of compliment towards certain works, or journalist descriptions. We have tried to thoroughly analyze such discourses produced from and by art, which constitute as a whole an artistic knowledge, leaving in a second plane the artistic forms. This election of an archeological methodology has conditioned therefore the form of our work, because neither has intended to rebuild the artistic or creative process of a work of art, nor the concrete difficulties the work of art has undergone. We have not pretended to initiate from the work of art itself, understood as an event or occurrence - in the way History does – an analysis of the society of a period time, as if art was the mirror of a Historic Truth or a Spirit of his time. Our objective has been to try and understand in which measure art, as a knowledge and combination of discourses, is affected by the changes in the Truth-Power that occur in a given period of time. These transformations have not been studied from the work of art itself – as it has been traditionally accomplished – but from the discourses aforementioned, as it is easy to analyze the ways of exercising Power through the discourses that generate, that through the artistic forms, whose “behaviors” are not so easy cognizable from The Word, tended to be expelled as it was described by Plato in the Republic. This is why, what we have tried to expose in this Thesis is in which measure the transformation of power that accounted at the end of XVII and beginning of XVIII century, that reveal the step from Sovereignty to Governmentality, conditioned disciplines of knowledge of the time, concretely, discourses about the French Painting of the moment...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte III (Contemporáneo), leída el 01-02-2016