Fréart De Chambray Idée De La Perfection De La Peinture
journal article
RACAR: revue d'art canadienne / Canadian Art Review
Published By: AAUC/UAAC (Association des universités d'art du Canada / Universities Art Association of Canada)
https://www. jstor .org/stable/42630868
In a letter to Chantelou dated 22 December 1647, Poussin writes of a painting to be executed that he has found its thought, "I mean the conception of the idea, and the work of the mind was complete." It follows that Poussin's idea belongs to the theoretical component of painting, namely the composition, and the idea constitutes the represented object aimed at by invention, which converts a historia into a picture and whose procurement provides sufficient satisfaction to an erudite painter like Poussin. Idea is the end or aim of pictorial thought and the regulative means for producing the visible work. Beyond a then perceptible tension between an ideal, indeed a divine Idea, to which Félibien's idea of the painter comes close in his first Entretien, and an agent or force of conversion of the discursive into the figural, idea belongs henceforth also to the theory of the art of painting, as is witnessed by the titles of works by Fréart or Roger de Piles (Idée de la perfection de la peinture, Idée du peintre parfait): such an idea is thus a regulated presentation of what the painter must do if he wishes to excel. It is no longer conceived or made visible by the painter, but by a kind of enlightened connoisseur, not yet called a critic, but who distances himself sufficiently from the art of painting to teach and to adjudicate good taste. Not only does idea then aid, not in the fabrication of good paintings, but rather in the evaluation of painting, as Roger de Piles underlines at the end of his opuscule introducing the Abrégé de la vie des peintres, but it could well be formative or constitutive of taste itself—a shift by which Idea comes, by the century's end, to regulate not the production of works, but the judgments passed on them.
RACAR was originally published by the Society for the Promotion of Art History Publications in Canada. Its first editor was Claude Bergeron of Université Laval. In February 1976 at the annual UAAC conference in Edmonton, RACAR became the official organ of the UAAC (see "Les Vingt ans de RACAR," RACAR XX 1/2 [1993]. As the journal of the UAAC and the one general art history journal in Canada, RACAR's scope reflects the range and diversity of art historical practices in Canada, rather than one approach to the discipline. It has also registered the interrogation and upheaval that has characterized the field internationally over the past twenty years.
The Universities Art Association of Canada provides a national voice for its membership, composed of university and college faculty, independent scholars and other art professionals in the fields of art, art history and visual culture. Institutions may also join.
Fréart De Chambray Idée De La Perfection De La Peinture
Source: https://www.jstor.org/stable/42630868
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