Dario Gamboni | University of Geneva, Switzerland (original) (raw)
Papers by Dario Gamboni
Dario Gamboni, Gerhard Wolf and Jessica N. Richardson (eds.), The Aesthetics of Marble: From Late Antiquity to the Present, Munich, Hirmer , 2021
This essay focuses on marble revetments using the technique and displaying the patterns known as ... more This essay focuses on marble revetments using the technique and displaying the patterns known as ‘book-matching,’ which are characterized by bilateral symmetry. He explores the relationship between symmetry, corporeality, and animation, and argues that book-matching enhanced the autopoietic quality of marble and its suggestiveness, allowing revetments to be perceived as images and regarded as acheiropoietic. This capacity to transcend the opposition between aniconism and iconicity explains the ‘amphibiousness’ of marble, that is its appeal to iconophobes—for whom the natural patterns of marble were a tolerable or welcome substitute for ornament and images—and to iconophiles, for whom these patterns complemented full-fledged images with a material, inchoate and ambiguous mode of presence.
“‘Une petite porte ouverte sur le mystère’: Odilon Redon et la recherche en histoire de l’art”, in Rodolphe Rapetti, ed., Odilon Redon — Prince du Rêve, exhibition catalogue, Paris, Galeries nationales du Grand Palais, Paris, Réunion des musées nationaux, 2011, p. 29-41 , 2011
“The Celestial Art: A New Look at Redon and Music”, in Cornelia Homburg, ed., Odilon Redon: Literature and Music, exhib. cat. (Kröller-Müller Museum, Otterlo; Ny Carlsberg Glyptotek, Copenhagen), Rotterdam, nai010 Publishers, 2018, p. 96-141, 2018
Odilon Redon's relation to music has often been discussed, most recently by Anne Leonard, who con... more Odilon Redon's relation to music has often been discussed, most recently by Anne Leonard, who contrasted the sparse image of music in his oeuvre with its abundance in that of Henri Fantin-Latour. 1 She found it surprising that Redon's 'lived musical experience left little to no trace in his imagery' and diagnosed a veritable 'resistance to representing music'. One notable exception is the lithograph entitled The Celestial Art (ill. 76), and it is a good point of departure to take a new look at Redon's complex, contradictory and changing attitudes towards music and its relation to visuality and the visual arts. Harmony The Celestial Art was published by Redon in 1894, not as part of a lithographic album but as one of the individual Modern Pieces that he had started issuing in 1886. It has been frequently reproduced but seldom commented on. André Mellerio, in his catalogue of Redon's prints, wrote that the main figure's 'physiognomy is absorbed in deep attention, while he listens to the sounds drawn by a winged genius from a large violin', and that behind the listener's head, 'a light-coloured streamer ends like a bell'. 2 The second part of this description is somewhat confusing, but so is the composition: Mellerio perceived a continuity between the crescent above the large head, the light area suggesting a bust, and the parallel curves at the bottom, which he interpreted as a bell seen from below, maybe influenced by the lithograph A Mask Rings the Death Knell (ill. 82) from the album To Edgar Poe. Another 'streamer' or pennon, decorated at one end, is curled behind the winged figure's head and repeated between its arm holding the instrument and its feet. The anatomy and posture of this winged figure are odd and bear a slight resemblance
“Preservation and Destruction, Oblivion and Memory”, in Anne L. McClanan and Jeffrey Johnson, eds., Negating the Image: Case Studies in Iconoclasm, Williston, VT: Ashgate, 2006, p. 163-177, 2006
“Im festen Zustand der suggestiven Betrachtung. Odilon Redon und das Schweben als Voraussetzung und Metapher für das künstlerische Schaffen”, in Lydia Marinelli, ed., Die Couch. Vom Denken im Liegen, exhibition catalogue, Vienna, Sigmund-Freud-Museum, Munich etc.: Prestel, 2006, p. 123-142, 2006
“Acheiropoiesis, Autopoiesis und potentielle Bilder im 19. Jahrhundert”, in Friedrich Weltzien, ed., Von selbst. Autopoietische Abbildungsverfahren im 19. Jahrhundert, Berlin: Reimer, 2006, p. 63-74, 2006
![Research paper thumbnail of Le Soir, ou la vision retrouvée ? [Notes]](https://attachments.academia-assets.com/112777400/thumbnails/1.jpg)
](“Le Soir, ou la vision retrouvée ?”, in Catherine Lepdor, ed., Charles Gleyre, le génie de l’invention, exhibition catalogue (Musée cantonal des Beaux-Arts de Lausanne), Milano: 5 Continents, 2006, p. 118-135 [notes], 2006
“Le Soir, ou la vision retrouvée ?”, in Catherine Lepdor, ed., Charles Gleyre, le génie de l’invention, exhibition catalogue (Musée cantonal des Beaux-Arts de Lausanne), Milano: 5 Continents, 2006, p. 118-135, 2006
Le Soir, ou la vision retrouvee? Dario Gam bun i Tout.es ces figurations, cerne.es d un trait cre... more Le Soir, ou la vision retrouvee? Dario Gam bun i Tout.es ces figurations, cerne.es d un trait crease dans le calcaire et bariolees des cou/eurs les plus vives, avaienl cette vie immobile, ce mouvementfige, cette intensite mysterieuse de Tart egyplien, contrarie par la regie sacerdolale, et qui ressemble. a un homme baillonne tachant de fa ire comprendre son secret. Theophile Gautier. Le Roman de la rnomic (i858) De Patmos a Abydos Une fois revenu d'Egypte et sa convalescence achevee, Gleyre fit sa rentree an Salon avec un tableau intitule Saint Jean sur Tile de Patmos'. La toile nous montre le saint assis levant les yeux au ciel, mais pas sa vision. Une fcuille d'esquisses presente une premiere conception differente (ill. 102) : Jean est vu allonge de profil sur un monticule, le regard toume vers le ciel qui occupe la majeure partie de la composition. Ce ciel est empli de images parmi lesquels on pent distinguer a droite des formes humaines portant des blocs, qui font vaguement songer aux Titans. II s'agit peutetre d'une allusion a la «guerre dans le ciel» que se font dans l'Apocalvpse Michel et le dragon avec lours anges respec tifs (xn, 79). Dans le texte de Jean, le ciel est en effet comme une scene de theatre ou un ecran sur lequel se deroulc la revelation, et le motif du image correspond a la premiere annonce de f apparition du Christ : «Voici qu'il vient avec les nuees.» (i, 7.) Mais le dessin de Gleyre, qui ne distingue pas les figures des nuees, suggere en outre qu'elles naissent de la contemplation des formes mouvantes du ciel par le saint. L'image dans le image, comme paradigme de la perception imaginative et de la "9
“Fantasmes’ et réflexions autour d’un lac. Aperçu d’histoire de l’histoire de l’art en Suisse romande”, Perspective. Actualités de la recherche en histoire de l’art. La revue de l’I.N.H.A., 2006, no. 2, p. 167-177, 2006
“Warum ein Blau hier und Gold da?’ – Die goldene Zelle, Bedeutung und Rezeption der Farbe bei Odilon Redon”, in Margret Stuffmann et Max Hollein, eds., Wie im Traum: Odilon Redon, exhibition catalogue, Frankfurt am Main, Schirn Kunsthalle, Ostfildern: Hatje Cantz, 2007, p. 122-131, 2007
“Dalí, souvenirs d’enfance, perception imaginative et publications pour la jeunesse”, in Astrid Ruffa, Philippe Kaenel et Danielle Chaperon, eds., Salvador Dalí à la croisée des savoirs, Paris: Desjonquères, 2007, p. 206-221, 2007
“A l’ombre du Corbeau”, in Renaissance et modernité du livre illustré, France XVe-XVIe et XIXe-XXe siècle. Ouvrages remarquables de la collection Jean Bonna, exhibition catalogue, Geneva: Cabinet des estampes du Musée d’art et d’histoire, 2005, vol. 2, p. 110-127 , 2005
“Jugendstil: Die Form des Lebens”, in Angeli Sachs, Hg., Nature Design. Von Inspiration zu Innovation, exhibition catalogue, Museum für Gestaltung, Zurich, Baden: Verlag Lars Müller Publishers, 2007, p. 98-111, 2007
“Art Nouveau: The Shape of Life”, in Angeli Sachs, ed., Nature Design. From Inspiration to Innovation, exhibition catalogue, Museum für Gestaltung, Zurich, Baden: Verlag Lars Müller Publishers, 2007, p. 98-111 , 2007
“La crítica de arte en la encrucijada de las representaciones”, in Gabriela Siracusano, dir., Las tretas de lo visible, Buenos Aires: Centro Argentino de Investigadores de Arte, 2007, p. 197-225, 2007
La cntica de arte en la encrucijada de las representaciones DARIOGAMBONI En agosto de 2001 tuvo l... more La cntica de arte en la encrucijada de las representaciones DARIOGAMBONI En agosto de 2001 tuvo lugar en Buenos Aires el seminario de doctorado titulado "La recepcion de las obras de arte por parte de los crfticos de arte, 18481914". La situacidn econdmica y poh'tica era muy tensa, y las huelgas impidieron utilizar las instalaciones de la universidad, por lo cual nuestras reu niones debieron desarrollarse en los salones del Institute de Teon'a e Historia del Arte "Julio E. Payro". A pesar de estas condidones improvisadas, de las difi cultades profesionales y personales sufridas por todos y de la aparente rareza de que alguien dedicase su tiempo a textos sobre arte escritos un siglo atras, cuando la conversaddn cotidiana se refen'a al FMI y a los piqueteros, se anali zaron ponencias, los partidpantes presentaron trabajos sobre Gautier, Baudelaire, Zola, Mallarme, Huysmans, Wilde, Aurier, Denis, Fontainas y Fry, y hubo intensas discusiones. Luego vinieron ensayos sobre cn'tica de arte en la Argentina, que pudieron basarse en los notables estudios de los espedalistas con mayor trayectoria que asistieron al seminario,^ Para la presente colecddn de ensayos, elegi dos de los primeros estudios que integraron mis ponencias.
“Odilon Redon et la ‘nature naturante’”, in Odilon Redon, le ciel, la terre, la mer, exhibition catalogue, Saint-Denis de la Réunion, Musée Léon Dierx, Paris: Réunion des musées nationaux, 2007, p. 117-127, 2007
“For a Science of the ‘Preservation of Sensory Subtlety and Instability’”, in Oskar Bätschmann et al., ed., Art History on Demand ? Dienstleistung Kunstgeschichte ? 100 Jahre Institut für Kunstgeschichte Universität Bern, Festschrift Band 2, Emsdetten/Berlin: Imorde, 2008, p. 81-91, 137-139, 2008
“Haut les cœurs”, in Ex-traits, exposition de Tableaux & Dessins de Max Schoendorff, exhibition catalogue, Lyon: Musée des beaux-arts de Lyon, 2008, unpaginated, 2008
“De Bernheim à Focillon : la notion de suggestion entre médecine, esthétique, critique et histoire de l’art”, in Roland Recht et al., ed., Histoire de l’histoire de l’art en France au XIXe siècle, Paris, La Documentation Française, 2008, p. 311-322, 2008
"Introduction" to the session "Repatriation", in Jaynie Anderson, ed., Repatriation of Crossing Cultures: Conflict, Migration and Convergence, Carlton: Miegunyah Press, 2009, p. 1072-1078, 2009
Dario Gamboni, Gerhard Wolf and Jessica N. Richardson (eds.), The Aesthetics of Marble: From Late Antiquity to the Present, Munich, Hirmer , 2021
This essay focuses on marble revetments using the technique and displaying the patterns known as ... more This essay focuses on marble revetments using the technique and displaying the patterns known as ‘book-matching,’ which are characterized by bilateral symmetry. He explores the relationship between symmetry, corporeality, and animation, and argues that book-matching enhanced the autopoietic quality of marble and its suggestiveness, allowing revetments to be perceived as images and regarded as acheiropoietic. This capacity to transcend the opposition between aniconism and iconicity explains the ‘amphibiousness’ of marble, that is its appeal to iconophobes—for whom the natural patterns of marble were a tolerable or welcome substitute for ornament and images—and to iconophiles, for whom these patterns complemented full-fledged images with a material, inchoate and ambiguous mode of presence.
“‘Une petite porte ouverte sur le mystère’: Odilon Redon et la recherche en histoire de l’art”, in Rodolphe Rapetti, ed., Odilon Redon — Prince du Rêve, exhibition catalogue, Paris, Galeries nationales du Grand Palais, Paris, Réunion des musées nationaux, 2011, p. 29-41 , 2011
“The Celestial Art: A New Look at Redon and Music”, in Cornelia Homburg, ed., Odilon Redon: Literature and Music, exhib. cat. (Kröller-Müller Museum, Otterlo; Ny Carlsberg Glyptotek, Copenhagen), Rotterdam, nai010 Publishers, 2018, p. 96-141, 2018
Odilon Redon's relation to music has often been discussed, most recently by Anne Leonard, who con... more Odilon Redon's relation to music has often been discussed, most recently by Anne Leonard, who contrasted the sparse image of music in his oeuvre with its abundance in that of Henri Fantin-Latour. 1 She found it surprising that Redon's 'lived musical experience left little to no trace in his imagery' and diagnosed a veritable 'resistance to representing music'. One notable exception is the lithograph entitled The Celestial Art (ill. 76), and it is a good point of departure to take a new look at Redon's complex, contradictory and changing attitudes towards music and its relation to visuality and the visual arts. Harmony The Celestial Art was published by Redon in 1894, not as part of a lithographic album but as one of the individual Modern Pieces that he had started issuing in 1886. It has been frequently reproduced but seldom commented on. André Mellerio, in his catalogue of Redon's prints, wrote that the main figure's 'physiognomy is absorbed in deep attention, while he listens to the sounds drawn by a winged genius from a large violin', and that behind the listener's head, 'a light-coloured streamer ends like a bell'. 2 The second part of this description is somewhat confusing, but so is the composition: Mellerio perceived a continuity between the crescent above the large head, the light area suggesting a bust, and the parallel curves at the bottom, which he interpreted as a bell seen from below, maybe influenced by the lithograph A Mask Rings the Death Knell (ill. 82) from the album To Edgar Poe. Another 'streamer' or pennon, decorated at one end, is curled behind the winged figure's head and repeated between its arm holding the instrument and its feet. The anatomy and posture of this winged figure are odd and bear a slight resemblance
“Preservation and Destruction, Oblivion and Memory”, in Anne L. McClanan and Jeffrey Johnson, eds., Negating the Image: Case Studies in Iconoclasm, Williston, VT: Ashgate, 2006, p. 163-177, 2006
“Im festen Zustand der suggestiven Betrachtung. Odilon Redon und das Schweben als Voraussetzung und Metapher für das künstlerische Schaffen”, in Lydia Marinelli, ed., Die Couch. Vom Denken im Liegen, exhibition catalogue, Vienna, Sigmund-Freud-Museum, Munich etc.: Prestel, 2006, p. 123-142, 2006
“Acheiropoiesis, Autopoiesis und potentielle Bilder im 19. Jahrhundert”, in Friedrich Weltzien, ed., Von selbst. Autopoietische Abbildungsverfahren im 19. Jahrhundert, Berlin: Reimer, 2006, p. 63-74, 2006
“Le Soir, ou la vision retrouvée ?”, in Catherine Lepdor, ed., Charles Gleyre, le génie de l’invention, exhibition catalogue (Musée cantonal des Beaux-Arts de Lausanne), Milano: 5 Continents, 2006, p. 118-135 [notes], 2006
“Le Soir, ou la vision retrouvée ?”, in Catherine Lepdor, ed., Charles Gleyre, le génie de l’invention, exhibition catalogue (Musée cantonal des Beaux-Arts de Lausanne), Milano: 5 Continents, 2006, p. 118-135, 2006
Le Soir, ou la vision retrouvee? Dario Gam bun i Tout.es ces figurations, cerne.es d un trait cre... more Le Soir, ou la vision retrouvee? Dario Gam bun i Tout.es ces figurations, cerne.es d un trait crease dans le calcaire et bariolees des cou/eurs les plus vives, avaienl cette vie immobile, ce mouvementfige, cette intensite mysterieuse de Tart egyplien, contrarie par la regie sacerdolale, et qui ressemble. a un homme baillonne tachant de fa ire comprendre son secret. Theophile Gautier. Le Roman de la rnomic (i858) De Patmos a Abydos Une fois revenu d'Egypte et sa convalescence achevee, Gleyre fit sa rentree an Salon avec un tableau intitule Saint Jean sur Tile de Patmos'. La toile nous montre le saint assis levant les yeux au ciel, mais pas sa vision. Une fcuille d'esquisses presente une premiere conception differente (ill. 102) : Jean est vu allonge de profil sur un monticule, le regard toume vers le ciel qui occupe la majeure partie de la composition. Ce ciel est empli de images parmi lesquels on pent distinguer a droite des formes humaines portant des blocs, qui font vaguement songer aux Titans. II s'agit peutetre d'une allusion a la «guerre dans le ciel» que se font dans l'Apocalvpse Michel et le dragon avec lours anges respec tifs (xn, 79). Dans le texte de Jean, le ciel est en effet comme une scene de theatre ou un ecran sur lequel se deroulc la revelation, et le motif du image correspond a la premiere annonce de f apparition du Christ : «Voici qu'il vient avec les nuees.» (i, 7.) Mais le dessin de Gleyre, qui ne distingue pas les figures des nuees, suggere en outre qu'elles naissent de la contemplation des formes mouvantes du ciel par le saint. L'image dans le image, comme paradigme de la perception imaginative et de la "9
“Fantasmes’ et réflexions autour d’un lac. Aperçu d’histoire de l’histoire de l’art en Suisse romande”, Perspective. Actualités de la recherche en histoire de l’art. La revue de l’I.N.H.A., 2006, no. 2, p. 167-177, 2006
“Warum ein Blau hier und Gold da?’ – Die goldene Zelle, Bedeutung und Rezeption der Farbe bei Odilon Redon”, in Margret Stuffmann et Max Hollein, eds., Wie im Traum: Odilon Redon, exhibition catalogue, Frankfurt am Main, Schirn Kunsthalle, Ostfildern: Hatje Cantz, 2007, p. 122-131, 2007
“Dalí, souvenirs d’enfance, perception imaginative et publications pour la jeunesse”, in Astrid Ruffa, Philippe Kaenel et Danielle Chaperon, eds., Salvador Dalí à la croisée des savoirs, Paris: Desjonquères, 2007, p. 206-221, 2007
“A l’ombre du Corbeau”, in Renaissance et modernité du livre illustré, France XVe-XVIe et XIXe-XXe siècle. Ouvrages remarquables de la collection Jean Bonna, exhibition catalogue, Geneva: Cabinet des estampes du Musée d’art et d’histoire, 2005, vol. 2, p. 110-127 , 2005
“Jugendstil: Die Form des Lebens”, in Angeli Sachs, Hg., Nature Design. Von Inspiration zu Innovation, exhibition catalogue, Museum für Gestaltung, Zurich, Baden: Verlag Lars Müller Publishers, 2007, p. 98-111, 2007
“Art Nouveau: The Shape of Life”, in Angeli Sachs, ed., Nature Design. From Inspiration to Innovation, exhibition catalogue, Museum für Gestaltung, Zurich, Baden: Verlag Lars Müller Publishers, 2007, p. 98-111 , 2007
“La crítica de arte en la encrucijada de las representaciones”, in Gabriela Siracusano, dir., Las tretas de lo visible, Buenos Aires: Centro Argentino de Investigadores de Arte, 2007, p. 197-225, 2007
La cntica de arte en la encrucijada de las representaciones DARIOGAMBONI En agosto de 2001 tuvo l... more La cntica de arte en la encrucijada de las representaciones DARIOGAMBONI En agosto de 2001 tuvo lugar en Buenos Aires el seminario de doctorado titulado "La recepcion de las obras de arte por parte de los crfticos de arte, 18481914". La situacidn econdmica y poh'tica era muy tensa, y las huelgas impidieron utilizar las instalaciones de la universidad, por lo cual nuestras reu niones debieron desarrollarse en los salones del Institute de Teon'a e Historia del Arte "Julio E. Payro". A pesar de estas condidones improvisadas, de las difi cultades profesionales y personales sufridas por todos y de la aparente rareza de que alguien dedicase su tiempo a textos sobre arte escritos un siglo atras, cuando la conversaddn cotidiana se refen'a al FMI y a los piqueteros, se anali zaron ponencias, los partidpantes presentaron trabajos sobre Gautier, Baudelaire, Zola, Mallarme, Huysmans, Wilde, Aurier, Denis, Fontainas y Fry, y hubo intensas discusiones. Luego vinieron ensayos sobre cn'tica de arte en la Argentina, que pudieron basarse en los notables estudios de los espedalistas con mayor trayectoria que asistieron al seminario,^ Para la presente colecddn de ensayos, elegi dos de los primeros estudios que integraron mis ponencias.
“Odilon Redon et la ‘nature naturante’”, in Odilon Redon, le ciel, la terre, la mer, exhibition catalogue, Saint-Denis de la Réunion, Musée Léon Dierx, Paris: Réunion des musées nationaux, 2007, p. 117-127, 2007
“For a Science of the ‘Preservation of Sensory Subtlety and Instability’”, in Oskar Bätschmann et al., ed., Art History on Demand ? Dienstleistung Kunstgeschichte ? 100 Jahre Institut für Kunstgeschichte Universität Bern, Festschrift Band 2, Emsdetten/Berlin: Imorde, 2008, p. 81-91, 137-139, 2008
“Haut les cœurs”, in Ex-traits, exposition de Tableaux & Dessins de Max Schoendorff, exhibition catalogue, Lyon: Musée des beaux-arts de Lyon, 2008, unpaginated, 2008
“De Bernheim à Focillon : la notion de suggestion entre médecine, esthétique, critique et histoire de l’art”, in Roland Recht et al., ed., Histoire de l’histoire de l’art en France au XIXe siècle, Paris, La Documentation Française, 2008, p. 311-322, 2008
"Introduction" to the session "Repatriation", in Jaynie Anderson, ed., Repatriation of Crossing Cultures: Conflict, Migration and Convergence, Carlton: Miegunyah Press, 2009, p. 1072-1078, 2009
Portrait of the Artist as a Landscape: An Inquiry into Self-Reflexion, Amsterdam: Vossiuspers UvA,, 2002