This text presents one of the very few opportunities one can have to escape from the eternal voyage round and round the moebius strip of psychoanalysis. This escape can be achieved in general by using the Lacanian construction.
Lacan was the most authoritative psychoanalyst after Freund and maybe the last one; since his theory (although he never admitted it; always insisting that he is a follower of Freund) proved the limitations of the Freudian paradigm (not only from the point of view of logic) making clear that the annihilation of the possibility of a subject hood is unavoidable in psychoanalysis. Of course the avoidance of this annihilation might be not the purpose of psychoanalysis but it is a populist belief and a populist expected outcome of psychoanalysis.
The use of (a) is the only reaction to the annihilation and in psychoanalysis this object (a) takes always the form of a secretion. This text describes what is involved in the process of creating and watching a Western Painting according to the Lacanian Theory. It also provides the means for the escape we mentioned before which is an escape from the ‘Law’ from the pair of the eyes that are always looking at us through a Western Painting.
Reading this text requires a thorough knowledge of the Freudian and Lacanian literature but also of the French so called philosophical, postmodernist concepts.
Table of Contents
1. The Depth of the Field
2. The Screen
3. To Give to Be Seen: The Painter
4. Dompte Regard
5. The Subject at Times Attempts to Assume His Own Role
6. Parenthesis: Lacan’s Objet Petit a
7. Conclusion
Objectives and Topics
This work aims to explore the intersection of Lacanian psychoanalysis and Western painting, specifically investigating how the subject relates to desire and the "gaze" within the artistic field. The text seeks to provide a nuanced understanding of Lacan's theoretical apparatus regarding visual representation and the potential for a "liberating" use of the objet petit a.
- The Lacanian conceptualization of the "gaze" and the "screen" in visual art.
- The function of the artist and the spectator within the symbolic and imaginary registers.
- An analysis of artistic creation as a form of sublimation and social engagement.
- The theoretical role of the objet petit a as an attractor in dynamical systems.
- The confrontation between the subject, the "Law," and the "look" of the picture.
Excerpt from the Book
To Give to Be Seen: The Painter
“What is involved in artistic creation? For me, it is a question of creation as sublimation and of the value it assumes in the social field.”
Somewhere in his book “The Four Fundamental Concepts of Psychoanalysis”, Lacan refers to the three epochs (operational planes of the artist): The sacrificial, the communal and to the one that he reluctantly describes as the modern epoch.
When the artist was operating on the sacrificial plane, he was playing with those things (images) that may arouse the desire of God. What makes the value of the icon is that the God it represents is also looking at it. It is intended to please God.
Let’s see now how Lacan describes the next two stages: “Let us go to the great hall of the Doges Palace in which are painted all kinds of battles, such as the battle of Lepanto, etc. The social function, which was already emerging at the religious level, is now becoming clear. Who comes here? “Les peoples” the audiences. And what do the audiences see in these vast compositions? They see the gaze of those persons who, when the audiences are not there deliberate in this hall. Behind the picture, it is their gaze that is there. You see, one can say that there are always lots of gazes behind. Nothing new is introduced in this respect by the epoch that Andre Marlaux distinguishes as the modern, that which comes to be dominated by what he calls, the incomparable monster, namely, the gaze of the painter, which claims to impose itself as being the only gaze. There always was a gaze behind”.
Summary of Chapters
The Depth of the Field: This chapter introduces Lacan’s critique of formal art analysis and defines the "depth of the field" as an alternative to the traditional, fixed-point perspective.
The Screen: This section explores the concept of the screen as a locus of mediation where the subject and the painting potentially confront each other.
To Give to Be Seen: The Painter: This chapter examines the operational planes of the artist and the manifestation of the gaze in artistic production.
Dompte Regard: This chapter elaborates on the distinction between the eye and the gaze, exploring the "taming of the gaze" within the context of the picture.
The Subject at Times Attempts to Assume His Own Role: This chapter discusses the possibility of the spectator escaping the power of the "look" through symbolic masquarade.
Parenthesis: Lacan’s Objet Petit a: This chapter provides a theoretical deep-dive into the nature of the objet petit a, connecting it to topological structures and dynamical systems.
Conclusion: The final chapter synthesizes the main arguments, reflecting on the limitations of Lacan's theory and the broader implications for the subject.
Keywords
Psychoanalysis, Jacques Lacan, Western Painting, Gaze, Objet petit a, Sublimation, Screen, Dompte Regard, Subjectivity, Topology, Desire, Mimicry, Symbolic, Imaginary, Art Criticism
Frequently Asked Questions
What is the fundamental focus of this work?
The work focuses on applying Lacanian psychoanalytic concepts to the interpretation of Western painting, examining the relationship between the spectator, the artwork, and desire.
What are the primary themes explored in the book?
The primary themes include the nature of the gaze, the role of the "screen" in visual experience, the artistic creation process, and the structural position of the subject.
What is the core research goal of this treatise?
The research aims to understand how a painting acts as a relation to desire and whether the Lacanian concept of the objet petit a offers a means of subject liberation.
Which methodology does the author employ?
The author employs a psychoanalytic framework, specifically utilizing Lacanian theory, while integrating perspectives from dynamical systems theory and topology.
What is covered in the main section of the book?
The main section covers the analysis of "the depth of the field," the role of the screen as a mediation locus, and the functioning of the "taming of the gaze" (Dompte Regard).
How would you describe the key terminology?
Key terms include "gaze" (the look of the Other), "objet petit a" (the object cause of desire), "screen" (the barrier/mediator), and "mimicry" (the subject's positioning in the image).
How does Lacan distinguish between the eye and the gaze?
Lacan distinguishes the eye, which is the organ of vision, from the gaze, which is the instrument of the Other that looks back at the subject, often creating a sense of being "photographed" or observed.
What is the "Dompte-Regard" and why is it significant?
The "Dompte-Regard" refers to the "taming of the gaze," which is a process where the painting provides a form of satisfaction or comfort to the spectator, helping to navigate the tension between desire and the social field.
- Quote paper
- George Dimos (Author), 1987, A Liberating Use of Lacan's Analysis of Western Painting, Munich, GRIN Verlag, https://www.grin.com/document/366121
