Sagar In several places in the book, Popper briefly considers these theorists and dien hints at a more optimistic, proactive approach being explored by some of the artists he presents. Forged from a partnership between a university press and a library, Project Perspectie is a trusted part of the academic lerspective scholarly community it serves. In several sections, however, more depth was critically needed. Account Options Sign in. Central perspective has been a pet project of dieoreticians because it is one of die few features of works of art that can be analyzed with measurable precision.

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December 29, Theorist Hubert Damisch has passed away at Hubert Damisch Jacqueline Salmon. Courtesy Artedia. He was no stranger to the Anglophone readers, as several of his volumes have been translated. Even before this wave of translations, Damisch had a particularly intense relationship with the United States.

Then, his encounter with Rem Koolhaas at Cornell University, while his wife Teri Wehn was hunting for the postcards that would illustrate Delirious New York with Madelon Vriesendorp, was no less decisive in his discovery of contemporary architecture.

Escaping every conventional characterization, Damisch cannot be profiled as an art historian or as a philosopher, but rather as a theorist—as announced by his maiden book—and a voracious visual observer, navigating between art, architecture, photography, and film. Often a reluctant pedagogue, as if he was running the risk of losing his elegance by teaching, he was one of the most inspiring educators of his generation in Europe. He examined their designs as acutely as he looked at the paintings of Piero della Francesca or Luca Signorelli.

Unlike many significant figures in the humanities, especially in France, who have kept their eyes downcast in respect to architecture, or have looked down at it from the Olympian height of their discipline, Damisch has been able to discern without condescension, but not without wit, its modes of generation, as well as its intersections with literature, art, and photography, deconstructing the economy of its metaphoric exchanges with philosophy and psychoanalysis.

Rather than insisting on the role Damisch has played as a mentor and as a friend for me and some of my contemporaries, I would simply say that in Paris, during the s and the s, most architects aspiring to break with the anti-intellectualism of the Beaux-Arts and with the sociological sectarianism that had replaced it, found in his seminar an exhilarating place of reflection and exchange.

But nemo propheta in patria sua, meaning, no one is a prophet in his own land. Related Stories.


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