Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionistsa rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. CAczanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artistas body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art.If his [Seurata#39;s] technique depends on his reading of science, it is no more scientific than the methods of flat painting; it is surely not better adapted to Seurata#39;s ... Creating this multiplicity of marks was the first part of Seurata#39;s painting process.
|Title||:||A Theory of the Tache in Nineteenth-Century Painting|
|Author||:||Dr Øystein Sjåstad|
|Publisher||:||Ashgate Publishing, Ltd. - 2014-07-25|