Hubert Damisch

Hubert Damisch , born in 1928, is a Philosophe French specialized in Esthétique and Histoire of art, professor with the École of the high studies in social sciences of Paris.

The reflection of Hubert Damisch takes into account the Sémiologie in the Esthétique. He writes on the Peinture, the Architecture, the Photographie, the Cinéma, the Théâtre. Its work refers in the field of the philosophy and the history of Article.

In 1974 it publishes Eight theses for (or against) a semiology of painting .

Philosopher and thinker of art, one owes him of many reference books, in particular on the bonds between art and architecture. Among those, one thinks of Ruptures/Cultures in 1976 or Art is necessary? in 1993.

On the theater, it signs an attentive study of the work of Titina Maselli unceasingly questioning the articulation between the art of the Scénographie and resistances of the plate.

In 1993, with Jean-Louis Cohen, it directs a collective work on American architecture where the American model of modernity in architecture is studied, which represents the model for Europe and its future. Indeed, the America is “ the Modernité in act ” according to its expression, which, in the field of architecture, opens the way with the Europe. This one will not only cease by of being inspired it, but even imitating.

In 1997 it does a memory of childhood of Piero della Francesca publish , work in which it wonders “ from which comes the attraction force that exerts the Madonna del Parto painted by Piero della Francesca? ”

It is about a strange table, representing a pregnant Madone which indicates the top of its belly where its dress deviates in a long slit, which follows along its body. The Madonna is itself in the center of a made round fabric tent whose two angels hold the higher sides to draw aside them. Virgin and mother, this paradox is still accentuated here because the glance perceives a virgin mysterious, image of the femininity, but represented while giving to see a Phallus barring its body on bottom of femininity that all its manifest body, all at the same time, redoubling a strangeness of the impression which emerges from the table, by the fact that at the same time, this phallic maternal body or phallophore lets see like a vagina. The whole of the image is due to the center of a tent similar to a uterus which contains its invaluable fetus.

Damisch shows that the angels raise the veil on the questioning eternal of the children analyzed by Freud, since his studies on infantile sexuality, we know that the children are inhabited by this metaphysical question and always without answer: from which do the babies come? Damisch, in a very erudite and very subtle way, leads the reader in an abyssal investigation of a table to the labyrinthesques significances.

Works