The Painting "Las Meninas"

The painter is standing a little back from his canvas [1]. He is glancing at his model; perhaps he is considering whether to add some finishing touch, though it is also possible that the first stroke has not yet been made. The arm holding the brush is bent to the left, towards the palette; it is motionless, for an instant, between canvas and paints. The skilled hand is suspended in mid-air, arrested in rapt attention on the painter's gaze; and the gaze, in return, waits upon the arrested gesture. Between the fine point of the brush and the steely gaze, the scene is about to yield up its volume.

But not without a subtle system of feints. By standing back a little, the painter has placed himself to one side of the painting on which he is working. That is, for the spectator'at present observing him he is to the right of his canvas, while the latter, the canvas, takes up the whole of the extreme left. And the canvas has its back turned to that spectator: he can see nothing of it but the reverse side, together with the huge frame on which it is stretched. The painter, on the other hand, is perfectly visible in his full height; or at any rate, he is not masked by the tall canvas which may soon absorb him, when, taking a step towards it again, he returns to his task; he has no doubt just appeared, at this very instant, before the eyes of the spectator, emerging from what is virtually a sort of vast cage pro-jected backwards by the surface he is painting. Now he can be seen, caught in a moment of stillness, at the neutral centre of this oscillation. His dark torso and bright face are half-way between the visible and the invisible: emerging from that canvas beyond our view, he moves into our gaze; but when, in a moment, he makes a step to the right, removing himself from our gaze, he will be standing exactly in front of the canvas he is painting; he will enter that region where his painting, neglected for an instant, will, for him, become visible once more, free of shadow and free of reticence. As though the painter could not at the same time be seen on the picture where he is represented and also see that upon which he is representing something. He rules at the threshold of those two in-compatible visibilities.

The painter is looking, his face turned slightly and his head leaning towards one shoulder. He is staring at a point to which, even though it is invisible, we, the spectators, can easily assign an object, since it is we, our-selves, who are that point: our bodies, our faces, our eyes. The spectacle he is observing is thus doubly invisible: first, because it is not represented within the space of the painting, and, second, because it is situated pre-cisely in that blind point, in that essential hiding-place into which our gaze disappears from ourselves at the moment of our actual looking. And yet, how could we fail to see that invisibility, there in front of our eyes, since it has its own perceptible equivalent, its sealed-in figure, in the painting itself? We could, in effect, guess what it is the painter is looking at if it were possible for us to glance for a moment at the canvas he is working on; but all we can see of that canvas is its texture, the horizontal and vertical bars of the stretcher, and the obliquely rising foot of the easel. The tall, monotonous rectangle occupying the whole left portion of the real picture, and representing the back of the canvas within the picture, reconstitutes in the form of a surface the invisibility in depth of what the artist is observing: that space in which we are, and which we are. From the eyes of the painter to what he is observing there runs a compelling line that we, the onlookers, have no power of evading: it runs through the real picture and emerges from its surface to join the place from which we see the painter observing us; this dotted line reaches out to us ineluctably, and links us to the representation of the picture. In appearance, this locus is a simple one; a matter of pure reciprocity:

we are looking at a picture in which the painter is in turn looking out at us. A mere confrontation, eyes catching one another's glance, direct looks superimposing themselves upon one another as they cross. And yet this slender line of reciprocal visibility embraces a whole complex net-work of uncertainties, exchanges, and feints. The painter is turning his eyes towards us only in so far as we happen to occupy the same position as his subject. We, the spectators, are an additional factor. Though greeted by that gaze, we are also dismissed by it, replaced by that which was always there before we were: the model itself. But, inversely, the painter's gaze, addressed to the void confronting him outside the picture, accepts as many models as there are spectators; in this precise but neutral place, the observer and the observed take part in a ceaseless exchange. No gaze is stable, or rather in the neutral furrow of the gaze piercing at a right angle through the canvas, subject and object, the spectator and the model, reverse their roles infinity.


Folksonomies: art identity perspective

/art and entertainment/visual art and design/painting (0.689015)
/automotive and vehicles/cars (0.277190)
/technology and computing/consumer electronics/camera and photo equipment/telescopes (0.263088)

canvas (0.935515 (positive:0.051056)), painter (0.867186 (positive:0.193902)), gaze (0.736177 (positive:0.549194)), steely gaze (0.623682 (positive:0.662712)), cage pro-jected backwards (0.609855 (neutral:0.000000)), real picture (0.577794 (positive:0.288207)), obliquely rising foot (0.574970 (negative:-0.541583)), eyes (0.556286 (negative:-0.154731)), tall canvas (0.529705 (neutral:0.000000)), painting (0.481045 (neutral:0.000000)), Las Meninas (0.453231 (neutral:0.000000)), rapt attention (0.451835 (positive:0.421074)), skilled hand (0.435317 (neutral:0.000000)), fine point (0.431012 (positive:0.733636)), dark torso (0.430853 (negative:-0.490785)), neutral centre (0.427098 (neutral:0.000000)), extreme left (0.421521 (negative:-0.354074)), in-compatible visibilities (0.420976 (negative:-0.691448)), essential hiding-place (0.417841 (positive:0.446158)), moment (0.416881 (negative:-0.500791)), ceaseless exchange (0.415446 (neutral:0.000000)), neutral furrow (0.412889 (positive:0.698897)), monotonous rectangle (0.412004 (negative:-0.619306)), sealed-in figure (0.411898 (neutral:0.000000)), bright face (0.405031 (negative:-0.490785)), additional factor (0.400926 (positive:0.284645)), vertical bars (0.398808 (negative:-0.653746)), blind point (0.398716 (negative:-0.423460)), direct looks (0.397902 (neutral:0.000000)), slender line (0.397773 (negative:-0.353981))

feints:City (0.712621 (negative:-0.220131))

Left-wing politics (0.946076): dbpedia | freebase | opencyc
Painting (0.816999): dbpedia | freebase
Image (0.777790): dbpedia | freebase
Oil painting (0.732473): dbpedia | freebase | opencyc
Panel painting (0.690987): dbpedia | freebase | yago

 The Order of Things
Books, Brochures, and Chapters>Book:  Foucault, Michel (2012-04-18), The Order of Things, Vintage, Retrieved on 2015-04-24
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  • Folksonomies: philosophy