Titien, le devenir-peintre, iconographie et singularite
Institution:
Paris 3Disciplines:
Directors:
Abstract EN:
Titian's work raises a problem of illigibility. From the xvi till the xx century, this illigibility is expressed through the disputation between disegno and colorito and is challenging ekphrasis. A lot of art's historians who faced this work had theorized this illigibility under the discursive category of the opacity. In the the same way, the historian, erwin panofsky did not cease to apply his method of iconographical inquiry into a work of wich the pictorality and the singularity surpasse every hermeneutic effort. Titian's work demands a "come-back to the surface", calls in question again discursive categories and requires the formulation of specific concepts who engage the process of the work himself. These concepts are the adjustment, the indistinguishable, the revival, the rythm. The adjustment points out the multiplicities of the form, the color and the content from the revival of subjets who constitute the whole work. From the form to the color, from the color to the content, the adjustment becomes widespread : the form faints for the benefit of the indistinguishable. This generalization is also the rythm of the work through the modulations of the revival. The adjustment multiplies the points of view who are becoming work's virtuality. The description is no more work's hermeneutical, it is work's experience.
Abstract FR:
L'oeuvre de titien souleve un probleme d'illisibilite. Du xvieme au xxeme siecle, cette illisibilite s'exprime a travers la dispute du disegno et du colorito et comme un defi a l'ekphrasis. De nombreux historiens d'art confrontes a cet oeuvre ont theorise cette illisibilite sous la categorie discursive de l'opacite. De la meme maniere, l'historien erwin panofsky n'a pas cesse de confronter sa methode d'enquete iconographique a un oeuvre dont la picturalite et la singularite depassent tout effort hermeneutique. L'oeuvre de titien exige un "retour a la surface", une remise en question des categories discursives et la formulation de concepts specifiques qui mettent en jeu les processus de l'oeuvre lui- meme. Ces concepts sont : l'agencement, l'indiscernable, la reprise, le rythme. L'agencement designe les multiplicites de la formes, de la couleur et du fond a partir de la reprise de themes qui constitue l'oeuvre comme ensemble. De la forme a la couleur, de la couleur au fond, l'agencement se generalise : la forme s'evanouit au profit d'un indiscernable. Cette generalisation est aussi rythme de l'oeuvre a travers les modulations de la reprise. L'agencement multiplie les points de vue qui deviennent virtualite de l'oeuvre. La description n'est plus hermeneutique d'une oeuvre, elle est experience de l'oeuvre.