L'imagination esthétique : le regard de Vermeer
Institution:
Paris 8Disciplines:
Directors:
Abstract EN:
The central purpose of this investigation based on a conception of the aesthetic imagination which has its origins in an ontology of imaginary codes (to give it a name), is to attempt to use this theory of the aesthetic imagination as a key for reading the relationships between painting, optics, and philosophy. So as to apply this perspective to a concrete historical situation, the theory of the aesthetic imagination will be used in an attempt to integrate vermeer's concept of painting, huygens's concept of optics, and spinoza's concept of philosophy. In each of these men's work, euclid's geometry is a fundamental presence. Please note that vermeer, spinoza and huygens not only shared a common geographical origin but also a common period of time. On the philosophical "borders" of this work two fundamental figures arise: ignace of loyola and descartes. They are briefly analyzed so as to establish connections between this present piece of research and conceptions which either preceded it.
Abstract FR:
Sur la base d'une conception de l'imagination esthetique, soutenue par la matrice d'une ontologie en cle imaginaire le dessein central de cette recherche est la proposition d'une lecture des rapports entre la geometrie, euclide; la mystique, ignace de loyola; l'optique,huygens; la philosophie, spinoza; la peinture,vermeer. Chez eux, un element originaire: la lumiere. Elle peut etre traduite au mouvement des points imaginaires. Je propose une definition arithmetique de point-ii est le non lieu ou s'entrecroisent les multiples formes de la creation humaine dans une ontologie imaginaire. Je developpe l'application de cette theorie a la peinture de vermeer. Je termine en regardant la perle de vermeer, point de concentration du tout. La perle se montre comme ce noyau d'energie ou la plus frappante realite dort, recueillie, dans un minuscule symbole de la totalite.