The (Im)pression on the Gaze. The Ascent to Visibility in Impressionist Painting. A Phenomenological Approach
DOI:
https://doi.org/10.5944/endoxa.54.2024.31264Keywords:
Visibility, Phenomenology, Impressionism, Modernism, Baudelaire, ColourAbstract
This paper aims to offer an approach to impressionist painting from the perspective of contemporary French phenomenology. In order to problematise the role of Impressionism, we will use Charles Baudelaire’s art criticism as a starting point to elucidate how Impressionism participates in artistic modernity. However, our main
objective is not a historical reading, but a phenomenological one: we aim to overcome
the reductionist interpretations that this pictorial movement presents either as a naturalistic
drive to mimetically represent the effects of light on the retina, or as a subjectivist
representation that interprets the impression as a psychological “sensation.” Beyond
both reductionisms, Impressionism will be shown in a phenomenological reading as
an attempt to create an encounter with the world, and its use of colour will be revealed
as the aletheia of the being of the world.
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