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Las Meninas de Velázquez es el cuadro de un cuadro. Se trata de Felipe IV y su esposa Mariana. ", " (136) use painting as a "sling-shot of images" (145) to release rather than capture events. The analysis in Tanke's first chapter lays the foundation for his elaboration of the post-representation thesis in the rest of the book. Foucault finds that Las Meninas was a very early critique of the supposed power of representation to confirm an objective order visually. To be sure, Foucault is a thinker of paradox, and it is entirely possible that these contradictory assertions might be explained within a paradigm that embraces paradox. Las Meninas is set in Velázquez's studio in Philip IV's Alcázar palace in Madrid. Tanke's attempt to fill out the picture even further is informative and provocative, even if it raises some of the nagging questions I've detailed above. El cuadro representado en la escena, al estar vuelto de espaldas, oculta al espectador lo que está retratado en él. There is, I shall argue, a structural explanation built into the interpretive procedures of the discipline itself that has made a picture such as Las Meninas literally unthinkable under the rubric of art history. Something odd happens here in Tanke's study regarding the relation between art and knowledge after the toppling of representation. Foucault's introduction to the epistemic origins of the human sciences is a forensic analysis of the painting Las Meninas (The Ladies-in-waiting, 1656), by Diego Velázquez, as an objet d’art. How is this so? Tanke presents Foucault's writings on art as a "necessary corrective to the ahistorical tendencies of philosophical aesthetics" (5). … contains some of the values associated with the Renaissance experience of the world, one that haunts the Western imagination throughout modernity" (16). To be sure, to say that modern art is post-representational is hardly a new insight. Resumen De Sus Capitulos. But what are we to make of the genealogical rupture this implies? In Las Meninas, the viewer "transforms into a doublet" (45): the same "strange empirico-transcendental doublet" called "man" who emerges in modernity as the "paradoxical figure" (OT 322) of Foucault's analytic of finitude. The Order of Things âThe Order of Things sold out within a month after it ï¬rst appeared â or so goes the advertising legend. In short, Las Meninas is now under-stood as a visual statement of the social rank desired by the painter. For example, if Foucault is explicit in, 50) of artistic similitude in the Classical order of knowledge, he does not explain what happens to art in its relation to knowledge in the age of man. This close textual analysis is an excellent introduction to the following enveloping treatise on the "order of things." The high-ceilinged room is presented, in the words of Silvio Gaggi, as "a simple box that could be divided into a perspective grid with a single vanishing point". Michel Foucault, who wrote extensively about Las Meninas, via Encyclopedia Britannica Las Meninas is perhaps the single most documented, dissected and discussed piece of art in the world. The very title of the painting, Las Meninas translates as “Maids of Honour” and refers to subservience, class distinction and the attendants in the picture, but the perspective of Foucault's Las Meninas is not organized according to a presentation of sovereign power, but through an understanding of bio-power. Las meninas (como se conoce a esta obra desde el siglo XIX) o La familia de Felipe IV (según se describe en el inventario de 1734) se considera la obra maestra del pintor del Siglo de Oro español Diego Velázquez. So doing, he allows formal problems such as materiality, medium, lighting, color, depth, perspective, similitude, abstraction, and the place of the viewer to interface with familiar Foucauldian concepts such as archeological description, genealogical rupture, the event, ethical, , and the shifting relation between subjectivity and truth. "When we take a genealogical look at Western art," Tanke writes, "we see that modernity is fundamentally incompatible with representation" (8). He was born on 15 October 1926 in Poitiers, France as Paul-Michael Foucault to a notable provincial.! Conflate '' ( 150 ) junto al espejo hay una puerta abierta que da a un.! Art writings in the modern age York: New Press, 2003 ) la parte. Self as a `` necessary corrective to the second guiding conceptual question about the between! Renacimiento da paso a la representación como episteme de la época clásica throughout the book, Tanke the! 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