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Instituée par la théologie chrétienne, la fonction salvatrice de l'image fut réactivée par les romantiques après l'annonce de la "mort de Dieu". Dans cet ouvrage, trois séquences (Sauver - Unifier - Dévorer) esquissent l'histoire récente de cette fonction. Depuis le salut individuel de l'artiste avec Eugène Delacroix jusqu'au salut du "peuple" par l'art avec Fernand Léger ou le Bauhaus, l'activité artistique a décliné ses promesses de bonheur jusqu'à l'épuisement, entre l'invention d'un présent insaisissable et celle d'une oeuvre d'art totale, finalement destructrice. Mais après que Lucio Fontana eut précipité encore "la fin de Dieu" pour affirmer la liberté illimitée de l'art, après que Joseph Beuys eut répété une fois encore l'identification dévorante de l'esthétique au politique, tout mythe de rédemption et d'unification future sembla avoir déserté l'activité artistique, qui s'expose désormais comme pur désir de survie, ici et maintenant, selon l'immanentisme de la loi de la concurrence.

Christian art and symbolism --- Image (Theology) --- Art --- History --- Art and religion --- Art, Modern --- Aesthetics --- Philosophy --- Aesthetics of art --- art history --- religious art --- philosophy of art --- Art - History

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The history of art, argues Éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood—and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of “races” and “peoples” rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups—denouncing or praising certain qualities as “Latin” or “Germanic.” Thus the predominance of linear elements was thought to betray a southern origin, and the “painterly” a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works—categorized, for example, as “African American,” “Latino,” or “Native American”—creates added value. The market displays the same competition among “races” that was present at the foundation of art history as a discipline

Art --- History as a science --- race [group of people] --- Art, European --- Art and race --- Race and art --- Ethnopsychology --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Historiography&delete& --- History --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Historiography --- Art, Primitive --- historiografie van de kunstgeschiedenis

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Hypnotism. --- Hypnose --- Hypnotism --- Autosuggestion --- Braidism --- Hypnosis --- Trance --- Animal magnetism --- Mesmerism

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Des historiens, des anthropologues et des historiens de l'art analysent plus de vingt-cinq siècles de productions artistiques d'Europe, d'Afrique, d'Asie et d'Amérique. Ils cherchent notamment à déterminer ce que les images, qui témoignent de traditions techniques et iconiques spécifiques, racontent au-delà des âges et des civilisations.--[Memento].

Picture interpretation --- Time in art --- Time --- Illustrations, images, etc. --- Temps dans l'art --- Temps (Philosophie) --- Philosophy --- Interprétation --- Image --- --Iconographie --- --Histoire --- --Art --- Image (Philosophy) --- History --- kunst --- kunsttheorie --- fotografie --- tijd --- tijdelijkheid --- kunst en antropologie --- beweging --- middeleeuwen --- twintigste eeuw --- futurisme --- 7.01 --- Interprétation --- Art --- Iconographie --- Histoire --- Art - History --- Art history --- History of art