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- Ron Chrisley (2008). Painting an Experience: Las Meninas, Consciousness and the Aesthetic Mode. Journal of Consciousness Studies 15 (9):40-45.Paintings are usually paintings of things: a room in a palace, a princess, a dog. But what would it be to paint not those things, but the experience of seeing those things? Las Meninas is sufficiently sophisticated and masterfully executed to help us explore this question. Of course, there are many kinds of paintings: some abstract, some conceptual, some with more traditional subjects. Let us start with a focus on naturalistically depictive paintings: paintings that aim to cause an experience in the viewer that is similar to the experience the viewer (or someone else) might have were they to see, in a way not mediated by paint, the subject of the painting. Of course, many or even most paintings do not strictly adhere to this aim; indeed, their artistry and expressiveness often consist in the ways in which this aim is subverted. For example, no viewer of the scene that Las Meninas depicts -- not even King Philip IV and Queen Mariana themselves -- would see what Velasquez paints in the mirror on the back wall. Other artists, such as Escher and Magritte, are even more blatant in their transgression of naturalism. But even in such cases, the aim of naturalistic depiction is the departure point for the aesthetic journey of perception and meaning. Asking our question is a natural consequence of rejecting dualism: if experiences are as much a part of the natural world as canvases, courtiers and Chamberlains, then they, too, should be capable of being painted. On the other hand, only the visible can be depicted in the sense described above, and rejecting dualism does not bring with it the implication that everything that is, is visible. One answer to our question, then, is pessimistic: there can be no painting of an experience, because experiences cannot be seen. Unlike the Infanta Margarita, and like justice, the number two, or feudal obligation, experiences, on this view, are not visible. But is this pessimism tenable? Wittgenstein writes: 'The timidity does not seem to be merely associated, outwardly connected, with the face; but fear is alive there, alive, in the features' (Wittgenstein, 1953, §537). Similarly, McDowell (1978) maintains that we see another's pain in their expression, and their behaviour. To think otherwise invites solipsism.Reading list | Discuss | Edit | Categorize |My bibliography
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Deleuze's work on Francis Bacon is an aesthetic clinic of hysteria and an implicit critique of the psychoanalytic conception of hysteria. Bacon's paintings reveal what is at stake in hysteria: not the symbolic expression of unconscious representations, but the pure presence of the body, the experience of the body under the organism. Inspired by the work of the phenomenologist Henri Maldiney, Deleuze argues that Bacon's paintings become non-figurative without being abstract. In this way, painting shows the hysterical struggle of the body to escape from itself in the rhythm of its movement.
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| | Other links: dx.doi.org | Scholar | At my library | More options ... In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. What we visualise in paintings, he argues, is not simply in our heads but in our world. No one would assert that the paintings themselves are in our heads; nor would anyone deny that they are in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to contemporary schools of thought, particularly Marxist, feminist, and deconstructionist.
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| | Scholar | At my library | More options ... Trying to make sense of abstract painting has resulted in interesting but often inexact and inadequately motivated efforts to characterize what is distinctive about modern art. The present account begins with Gertrude Stein's description of the fascination she experiences in viewing painted surfaces and proceeds through a number of efforts to justify or severely criticize abstract painting in relation to more traditional representational works. The basis for a phenomenology of abstract painting is suggested by James Elkins's first-person analysis of the reasons why painters paint, focusing on the production rather than exclusively on the appreciation of paintings. Elkins's proposal that painters paint as an exploration of the possibilities of working with the material substance of paint is advanced as the basis for a new approach to the problems of understanding the nature of abstract art as the most pure and concentrated form of this remarkable aesthetic preoccupation that is to be found in all paintings and by extension in all art.
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| | Other links: bjaesthetics.oxfordjournals.org dx.doi.org | Scholar | At my library | More options ... Las Meninas (LM, for short) by Velasquez is a unique painting that has generated a riddle perplexing viewers for generations. Attempting to make sense of this striking masterpiece were not only artists, art critics and art historians but also philosophers. For its most part, this commentary is based on Shanon (1999) in which a detailed analysis of LM is presented, although some points made here are new. For the sake of brevity, the different protagonists of LM will be named as the presentation proceeds without any introduction or descriptions; the interested reader may consult my earlier paper and the.
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| | Scholar | At my library | More options ... Diego Velasquez's Las Meninas (The Maids of Honour) is an intriguing work of representational art. It seems to me that there are two central ways to analyse the painting as involving some kind of 'representation of a representation'.
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| | Scholar | At my library | More options ... The article will attempt to show that Velasquez's Las Meninas can be viewed as an allegorical enactment of some of the current debates and controversies in the philosophy of cognition and self-representation. I will focus on two very different philosophical trajectories, to which the allegory of the painting can be linked. The first, analytic, trajectory relates Las Meninas to the notion of representation and self-representation in the work of philosophers David Rosenthal, Robert Van Gulick, Uriah Kriegel and Bruce Mangan, and neurologists Bernie Baars and Rodolfo Llinas. The second, continental, trajectory begins by relating to the painting Merleau-Ponty's phenomenological 'embodied self-representation'. This trajectory, which can be further linked to John Ziman's 'second person view' of reality, proceeds to relate Las Meninas to Lacan's 'object gaze' and the 'unbearable fragility of representation', ending with Bataille's (non)concept of 'sovereignty' as essential yet non-representable losses in representation. I will conclude by suggesting that the evolution of the cognitive state experienced by an observer of Las Meninas can be viewed as an 'ontogenetic' recapitulation of the more 'phylogenic' progression of the philosophical history of representation and self-representation alluded to by the canvas.
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| | Scholar | At my library | More options ... There is a popular view on depiction which holds that convincingly realistic paintings depict their subjects through evoking in the spectator the illusion of seeing these very subjects face to face. There is, as it were, an exact 'match' between the visual experience of seeing something in a picture and the corresponding visual experience one would entertain if one were to stand in front of the real thing. This view, which we shall call 'illusionism', supports the widespread assumption that some kinds of pictures -- notably post-Renaissance perspective paintings -- provide the correct, 'natural' way to depict physical space because they capture the way the visual system enables one to see the world. The most notable defence of illusionism has been offered by Ernst Gombrich. In his Art and Illusion, Gombrich (1960) argues that the development of Western art consists in a series of discoveries about the nature of visual perception that eventually lead to pictorial techniques that are able to elicit illusionary visual experiences on part of the spectator and thus reach the perfection of naturalistic representation.
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| | Scholar | At my library | More options ... The fascination of Velasquez's painting Las Meninas stems largely from the ambiguous relationship between the painting as a whole, viewed by a single perceiver, and the variety of different perceptual viewpoints it invites. This situation resonates strongly with a central puzzle in the study of consciousness: the apparent unity of perceptual experience despite multiple sense modalities. Understanding more of this latter might help to explain the way we respond to the painting.
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| | Scholar | At my library | More options ... Painted in 1656 by Diego Velasquez (1599-1660), Las Meninas has engendered countless philosophical commentaries. Artists, too, have explored the painting's puzzles and paradoxes. All of the responses to this masterpiece, now over 350 years old, show that Las Meninas continues to live with us on several levels. Indeed, Las Meninas is one of the most controversial paintings of our time (Brown and Garrido, 1998, p. 181); no small feat given that cutting-edge art today is often media-based and/or media-driven. The wealth of controversy has generated so much material since the work's conception that James Elkins, in his book Why Are Our Pictures Puzzles, characterized Las Meninas as an artwork that has become monstrous. According to Elkins, it has effectively outgrown the discipline of art history. Like the frescos in the Brancacci Chapel, the Mona Lisa, Raphael's School of Athens and the Oath of Horatio by David, the scholarship surrounding Las Meninas is so vast that no single thinker or volume can present it fully; it is not even possible to teach these works in a yearlong seminar (Elkins, 1999). While I am among those captivated by the painting, I am also aware of how little a short essay can accomplish. Nevertheless, I do hope to convey why this immense canvas continues to inspire people creatively, intellectually, and passionately. In terms of consciousness, my comments are intended to weave the physicality of the work with epistemological interpretations and empirical investigations so that its mutability is more present in our consciousness discourse.
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| | Scholar | At my library | More options ... Paintings are usually paintings of things: a room in a palace, a princess, a dog. But what would it be to paint not those things, but the experience of seeing those things? Las Meninas is sufficiently sophisticated and masterfully executed to help us explore this question. Of course, there are many kinds of paintings: some abstract, some conceptual, some with more traditional subjects. Let us start with a focus on naturalistically depictive paintings: paintings that aim to cause an experience in the viewer that is similar to the experience the viewer (or someone else) might have were they to see, in a way not mediated by paint, the subject of the painting. Of course, many or even most paintings do not strictly adhere to this aim; indeed, their artistry and expressiveness often consist in the ways in which this aim is subverted. For example, no viewer of the scene that Las Meninas depicts — not even King Philip IV and Queen Mariana themselves — would see what Velasquez paints in the mirror on the back wall. Other artists, such as Escher and Magritte, are even more blatant in their transgression of naturalism. But even in such cases, the aim of naturalistic depiction is the departure point for the aesthetic journey of perception and meaning. Asking our question is a natural consequence of rejecting dualism: if experiences are as much a part of the natural world as canvases, courtiers and Chamberlains, then they, too, should be capable of being painted. On the other hand, only the visible can be depicted in the sense described above, and rejecting dualism does not bring with it the implication that everything that is, is visible. One answer to our question, then, is pessimistic: there can be no painting of an experience.
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| | Scholar | More options ... Discussion of Ron Chrisley, Painting an experience: Las meninas, consciousness and the aesthetic mode
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