The Culture of Fact

One major point in our discussion last time was that we have to look at the image not only in terms of representation and /or expression, but also as a conceptual space in which certain notions of visuality are realized.

By concepts I mean, for instance, the idea of a regular, spatio-temporal continuum which our field of vision presents and which the painter (or photographer, for that matter) may simply re-present by using certain techniques of painting and modes of drawing, calculating etc.

In short, the way something is presented visually always implies a certain understanding or notion of visibility in general and the notion of visuality in particular.

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First, let me thank you for joining what I thought was a rather spirited and engaging discussion of Thomas Eakins’ s Gross Clinic! I had the feeling that there is an increasing sensitivity and versatility that informs our discussion of the material at hand, and a willingness to think through it from more than one angle.

There is—of course—a lot more that one could say about this painting, but I had the feeling that we did indeed cover a lot of ground, especially in focusing on the relation between the formal structure and various compositional elements and their significance for the statement the painting makes about the relation between the visible (what can be seen) and visual perception (the various ways in which the visible may affect us, interest us, captivate us, and even threaten us).

We talked about the scandal of the painting (the blood, the wound, the naked unconscious body) and we talked about the basic operating opposition which Eakins works into his scene between the ‘cool’ and controlled attitude of the operating team, Dr Gross and the student audience on the one hand, and the highly expressive gesture of pain and disgust displayed by the female figure on the left, on the other.

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A new gallery has been added presenting crucial paintings by Thomas  Eakins.

Since the discussion of Eakins’ work will be our major concern in the next session, it is mandatory to visit the gallery and form first impressions and opinions about his subject matter and mode of representation.

A solid knowledge of the texts in the course reader concerned with Eakins will be expected.

See you on Tuesday!

You may want to look at or download the essay by Alan Trachtenberg on Civil War photography posted on the document page of this blog. It has better images than the copy in the reader – even though that makes the file rather big and thus a bit slow to dowload. But it is definitely worth it since the images are much clearer and open to see (and read!).

This is your work space and seminar blog for our course on visual culture and realism in late 19th-century America.

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