The Truth in Painting by Jacques Derrida (PDF)

Description

The four essays in this volume constitute Derrida’s most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics.—Alexander Gelley, Library Journal

User’s Reviews

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐The book I bought is a hard cover, but sent me a paperback

⭐The introduction was the most difficult chapter. After that, it actually starts to make some sense.

⭐the book met my expectations and has proven to be a good teaching text as well. I would recommend it.

⭐Excellent Book! Arrive on time!

⭐A reading of Adami’s reading of Derrida’s Glas. Fantastic book. Recommended to those who want a new view of painting, art, and history in general.

⭐Derrida has a very complicated way of writing : it is not easy avoiding metaphors, the verb to be, the ‘I’. Especially when the subject is art, beacause it is exactly the realm of the aesthetic, the subjective, the presence. This, I think, is one of his most difficult texts.This book sets to investigate the multiple questions that develop in the presence of Cezanne’s proposal : Cezanne’s aim is to tell the truth in painting. Who is capable of exposing it, is it Shapiro’s art history or heidegger’s philosophy?What is the relation between truth and beauty, language and image, philosophy and art? Derrida investigates those in two large chapters called ‘Parergon’ and ‘Van Gogh boots’.

⭐This is Derrida’s most sustained work on aesthetics. Its trajectory is to explore the margins of the work of art as a seperate, unique totality. To do this, Derrida investigates how we talk about art, especially in the writings of Kant, whose discussions of the relationship between the ‘work’ and its ‘parergon’ form the heart of Derrida’s text. This is an important and rewarding book, but, be warned! It is one of the most demanding of Derrida’s texts currently available in English, and it is absolutely not the best place to begin exploring the thought of this great, but challenging, thinker.

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