{"product_id":"lexique-et-diagramme-traite-de-peinture-tome-ii","title":"Lexicon and Diagram: Treatise on painting volume II.","description":"\u003cmeta charset=\"utf-8\"\u003e\n\n \u003cp data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid6\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eDiptych Collection.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid6\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eRegularly exhibited, the work of Christian Bonnefoi is one of the leading figures in contemporary art in France.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid6\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eLexicon and Diagram\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid7\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eis the second volume of the\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid8\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eTreatise on Painting\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e , the first volume \u003cspan id=\"page7R_mcid9\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eof which\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid11\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003ewas published in April 2023. Bonnefoi's work has been patiently developed since the\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid13\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e1970s, revisiting the question of the painting and the pictorial,\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid15\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003ethe foundations of which he has endeavored to rethink anew. As the philosopher Michel Guérin writes in the preface to the first volume of the\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid16\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eTreatise\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid18\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eon Painting\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid19\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e: \"More than the motif, the driving force behind Christian Bonnefoi's writing is the construction of a\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid21\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003econcept of the painting, the purpose of which is not to ultimately replace the real painting but to share its\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid22\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003euncertain\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid24\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003econdition.\"\u003c\/span\u003e\u003c\/span\u003e \u003c\/p\u003e\n\n\u003cdiv class=\"page\" data-page-number=\"1\" data-loaded=\"true\" data-mce-fragment=\"1\"\u003e\n\n\u003cdiv class=\"textLayer\" data-mce-fragment=\"1\"\u003e \n\u003cspan id=\"page7R_mcid27\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eThe second volume of the\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid28\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eTraité de peinture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid29\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, this\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid30\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eLexique\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid31\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003edes termes de la peinture is composed like a\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid33\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003elexical\u003c\/span\u003e\u003c\/span\u003e novel \u003cspan id=\"page7R_mcid34\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e. Reconnecting with the tradition of Renaissance treatises, Bonnefoi extends the action of painting\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid36\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eand its silent knowledge, its\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid37\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003etechnè\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid38\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, into the medium of language.\u003c\/span\u003e\u003c\/span\u003e The headings, classified in alphabetical order and intended to be virtually enriched, develop in varied \u003cspan id=\"page7R_mcid40\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eregisters of writing, moving from the conceptual elaboration\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid42\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eof a term to its inclusion in a history of painting techniques or to its poetic resumption\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid43\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid45\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eThis is the case, for example, with the notions of \"detail\", \"condensation\", \"erasure\", \"mode of exhibition\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid46\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid48\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, \"threshold\", \"verso\" or even \"collage\" among a hundred other terms in the\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page7R_mcid49\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eLexique\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid50\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"textLayer\" data-mce-fragment=\"1\"\u003e \n\u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan id=\"page7R_mcid52\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eA true \"device\", which, along with the \"Tableau\" and the \"Remake\", constitutes one of the three technical modes of\u003c\/span\u003e\u003c\/span\u003e Bonnefoi's \u003cspan id=\"page7R_mcid53\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003epractice\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid55\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, the \"Collage\" develops in a reflection on the thickness of the plane, the depth\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid57\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eof a reserve which rises to the pictorial surface and overflows it, like the memories of involuntary memory\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid59\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eor the \"foreparts\" which detach themselves from the \"tableau\", like the simulacra of Lucretius. As\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid61\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eBonnefoi writes, collage cannot be reduced to this technical invention of the Cubists, \"it signifies that the surface\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid63\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eas an entity, inherited from the Quattrocento, is no longer able to accommodate new forms, that it must be duplicated\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid65\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, even multiplied, developing its expansion both in its margins and in its thickness and\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid67\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003emateriality\".\u003c\/span\u003e\u003c\/span\u003e\u003cspan id=\"page7R_mcid69\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eThis precept is equally valid for language where \"the word that will take over from the most advanced point\u003c\/span\u003e \u003cspan id=\"page7R_mcid71\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eof painting does not, however, detach itself entirely from it; it retains the coloring which is its own way\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid73\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e, painting, of existing beyond its place, that is to say in language.\" Epistolary correspondence\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid75\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e(with Jean Louis Schefer, Gilles Hanus, Pascal Bacquè, Norbert Hillaire, Michel Guérin or Dina Germanos\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid77\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003eBesson) is therefore also invited into the elaboration of notions, which summon in a jumble the\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid79\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003ebiographical event, the instance of historical criticism, reverie, the recommendation addressed to the painter, or even\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page7R_mcid81\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003ethe fine description of his operations.\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/span\u003e\n\u003c\/div\u003e\n\n \u003cdiv class=\"textLayer\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n \u003cdiv class=\"textLayer\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid1\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eBorrowed from philosophy (Bergson's growth of the real), poetry (Mallarmé's calm block),\u003c\/span\u003e \u003cspan id=\"page88R_mcid3\" class=\"markedContent\" data-mce-fragment=\"1\"\u003ethe novel (Proust's Land of the Obscure) or even constructed from the painter's experience (like\u003c\/span\u003e \u003cspan id=\"page88R_mcid5\" class=\"markedContent\" data-mce-fragment=\"1\"\u003ewhat Bonnefoi calls the division of division), the notions of the\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid6\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eLexicon\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page88R_mcid7\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eexpand and densify the constellation\u003c\/span\u003e \u003cspan id=\"page88R_mcid9\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eof relationships they maintain between them over the course of a reading open to a labyrinth of\u003c\/span\u003e \u003cspan id=\"page88R_mcid11\" class=\"markedContent\" data-mce-fragment=\"1\"\u003epossible circulations.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n \u003cdiv class=\"textLayer\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cspan dir=\"ltr\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid13\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eThis second volume of the\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid14\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eTreatise\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page88R_mcid15\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eincludes, in the first part, an introduction to the\u003c\/span\u003e \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid16\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eDiagram\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page88R_mcid17\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e, which is a\u003c\/span\u003e \u003cspan id=\"page88R_mcid19\" class=\"markedContent\" data-mce-fragment=\"1\"\u003espatialization and a stratification of Bonnefoi's work.\u003c\/span\u003e \u003cspan id=\"page88R_mcid21\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan id=\"page88R_mcid22\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cbr data-mce-fragment=\"1\"\u003e\"In the \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003e\u003cspan id=\"page88R_mcid23\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eLexicon\u003c\/span\u003e\u003c\/span\u003e \u003cspan id=\"page88R_mcid24\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e, [the words] move like fleas in dog hair and jump here and there, sometimes in\u003c\/span\u003e \u003cspan id=\"page88R_mcid26\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eimmense leaps, sometimes from one hair to another. They then weave strange fraternities that Lucretius found condemnable\u003c\/span\u003e \u003cspan id=\"page88R_mcid28\" class=\"markedContent\" data-mce-fragment=\"1\"\u003ebecause they produce monsters like in the images where a human head is welded to a\u003c\/span\u003e \u003cspan id=\"page88R_mcid30\" class=\"markedContent\" data-mce-fragment=\"1\"\u003ebull's body. Varro plunged his life into this teeming and unstable pot and, despite the care he took to\u003c\/span\u003e \u003cspan id=\"page88R_mcid31\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eration\u003c\/span\u003e \u003cspan id=\"page88R_mcid33\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eit by introducing regulations exported from grammar, nothing worked; this jumped to that.\u003c\/span\u003e\u003cspan id=\"page88R_mcid35\" class=\"markedContent\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eThe \u003cspan class=\"italique\" data-mce-fragment=\"1\"\u003eLexicon\u003c\/span\u003e that I propose is therefore of this kind: it makes common cause with the \u003cspan id=\"page88R_mcid36\" class=\"markedContent\" data-mce-fragment=\"1\"\u003emovement of images\u003c\/span\u003e \u003cspan id=\"page88R_mcid37\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eand can,\u003c\/span\u003e \u003cspan id=\"page88R_mcid39\" class=\"markedContent\" data-mce-fragment=\"1\"\u003emodestly, linger on a detail or, vainly, go to meet the greatest monstrosities, just like\u003c\/span\u003e \u003cspan id=\"page88R_mcid40\" class=\"markedContent\" data-mce-fragment=\"1\"\u003eLucretius\u003c\/span\u003e \u003cspan id=\"page88R_mcid42\" class=\"markedContent\" data-mce-fragment=\"1\"\u003ewho, while saying \"this cannot be\", lets his imagination run wild with combinations of bodies or plants that\u003c\/span\u003e would not have displeased Ovid. (Christian Bonnefoi)\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"Antinoë","offers":[{"title":"Default Title","offer_id":47327569314116,"sku":"30035","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0574\/4043\/6408\/files\/tn_1692707237.jpg?v=1699367658","url":"https:\/\/anttopinoe.com\/en-en\/products\/lexique-et-diagramme-traite-de-peinture-tome-ii","provider":"Antinoë","version":"1.0","type":"link"}