Tintoretto’s Difference: Deleuze, Diagrammatics, and Art History

Description

A provocative account of the philosophical problem of ‘difference’ in art history, Tintoretto’s Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze’s philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze’s important concept of the diagram, Tintoretto’s Difference positions the artist’s work within a critical study of both art history’s methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers of semiotics, aesthetics, and time, Tintoretto’s Difference offers at once an innovative study of this seminal artist, an elaboration of Deleuze’s philosophy of the diagram, and a new avenue for a philosophical art history Cover Half Title Title Copyrights Dedication Contents List of figures Preface Prologue 1 Tintoretto: A Problem for Art History? Tradition and contextualism Representational thought Theory, philosophy Towards Deleuze Deleuze and art history The diagram 2 Tintoretto and His Time? Christ among the Doctors Annibale’s hesitation Aretino’s U-turn Miracle of the Slave Historia The stage-method Painting and theatre Tintoretto. From theatre to drama Genealogy of the stage-method in Tintoretto’s works Ridolfi’s motto Art history’s recycling of Ridolfi’s motto Deleuze’s Tintoretto 3 Diagrammatic Constructivism Thought as difference Deleuze’s diagram and Kant’s schema Kant’s constructivism Peirce’s diagram. An empiricist’s constructivism Pure icons Diagrammatic subversion of iconography in Tintoretto’s works Tintoretto’s ghostly figures The genetic method: Maimon and Deleuze Deleuze’s transcendental empiricism Tintoretto’s constructivism. Stage-method as diagram 4 Diagrammatic Aesthetic Deleuze after Kant: Sensation and genesis Genetic method in the third critique Material aesthetic and the work of art Aesthetic paradigm Diagrammatic aesthetic Diagrammatic art Tintoretto’s material constructivism Constructivism beyond Venetian empiricism Tintoretto’s imagination Boschini’s experience The Scuola Grande di San Rocco 5 Diagrammatic Time The time of difference Anachronism in contemporary art history Constructivism, time, and art Deleuze’s syntheses of time The third synthesis of time and Nietzsche’s eternal return The diagram, genealogy, and history Tintoretto’s time Tintoretto’s return in the 2011 Venice Biennale Conclusion Notes Bibliography Index