Descrição
Escrito em 1992, o ensaio discute a obra de Manet, Le déjeuner sur l’herbe, exposta no Salon des Refusés de 1863, um divisor de águas no universo da arte moderna que assinala uma mudança radical na abordagem do nu feminino e da ideia do belo na tradição artística. Conforme nota o autor, embora a pintura empreste a narrativa do célebre Julgamento de Páris, gravura de c. 1510-20, na qual Marcantonio Raimondi transcrevera obra de Rafael, Manet provocativamente projeta os personagens da narrativa clássica em um ambiente contemporâneo, além disso conferindo à figura feminina principal um olhar desafiador e provocativo, que visa diretamente o observador. Recorrendo a conceitos psicanalíticos, Damisch observa como o nu resulta dessublimado dessa pintura.||Written in 1992, the essay examines Manet’s painting, Le déjeuner sur l’herbe, exhibited in the Salon des Refusés in 1863, a milestone in the universe of modern art, which marks a radical rupture in artistic tradition, showing the female body as well as the very notion of Beauty under a new light. According to the author, although the painting recreates a well-known classical narrative from Marcantonio Raimondi’s The Judgement of Paris, an engraving dated from c. 1510-20 that translates a design originally done by Rafael, Manet provocatively projects his characters in a contemporary setting, imbuing the main female figure with a defying and provoking gaze, directly targeted at the beholder. Resorting to psychoanalytic concepts, Damisch points out how nudity is desublimated in this painting.
