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La matière picturale comme limite à l’ekphrasis dans les romans sur l’art de la seconde moitié du XIXe siècle

Abstract : Painting material as a boundary of ekphrasis in art novels of the 19th century. In the 19th century, an increasing degree of autonomy in the visual arts and the claims laid by painters on the materials used in their artwork fundamentally modified the relationship between painting and literature. While academic painting still called for smooth and transparent paintings that were perceived as an "open window" onto the world, modern painting started to build up extra layers of paint, showing off relief and textural effects - a trend that caused the tactile to invade the visual. Authors of ekphrases were confronted with the following question : how to describe painting material whereas it represents nothing ? The analysis of the status given to painting materials in art novels suggests that it is the Achilles' heel of their ambition for realism. Nevertheless, the boundary could be crossed by intensifying the reflexivity that effectuated a shift in the relationship between painting and literature. Thus, authors gave up trying to describe the reality as if it were a painting and opted to treat it the same way a painter would do it, by handling their own primary materials.
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Submitted on : Monday, November 6, 2017 - 3:00:24 PM
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Érika Wicky. La matière picturale comme limite à l’ekphrasis dans les romans sur l’art de la seconde moitié du XIXe siècle. Loxias, CTEL (Centre Transdisciplinaire d'Epistémologie de la Littérature), 2008, Doctoriales V, Septembre (22). ⟨hal-01627033⟩



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